A Heros Journey Through Cinema: The Mythical Structure of Film

By Stuart Heimdal




Submitted in Partial Fulfillment of the Requirements
For the Degree of Master of Fine Arts in Film and Television
at
The Savannah College of Art and Design

May 2013, Stuart Pallow Heimdal II


The author hereby grants SCAD permission to reproduce and to distribute publicly paper and
electronic thesis copies of document in whole or in part in any medium now known or hereafter
created.



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A Heros Journey Through Cinema: The Mythical Structure of Film





A Thesis Submitted to the Faculty of the Film and Television Department
In Partial Fulfillment of the Requirements for the
Degree of Master of Fine Arts in Film and Television
Savannah College of Art and Design

By

Stuart Pallow Heimdal II
Savannah, GA
May 2013










Table of Contents

Abstract 1
Thesis 2
Bibliography 26
















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A Heros Journey Through Cinema: The Mythical Structure of Film


Stuart Heimdal

May 2013



The mythological method for telling stories has been around for as long as humans have been.
Its in our nature to share stories one with another. The Heros Journey is a basic structure
that has served mankind as a means to effectively tell stories and share legends. Filmmakers
have successfully implemented the Heros Journey as a framework for Hollywoods successful
films of both the past and the present.






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The structure of films and how they unfold onscreen has been a subject of study
almost since the first few frames of film were developed and put on display for the public
to view. Mythical structure plays a vital role in storytelling with film, just as it has been
utilized in other communication methods for over two thousand years.
The process of the heros journey in film is a well-known storytelling technique
used over the years, but really came to life in the modern day when Joseph Campbell
introduced his book The Hero With A Thousand Faces.
Throughout the inhabited world, in all times and under
every circumstance, myths of man have flourished; and
they have been the living inspiration of whatever else may
have appeared out of the activities of the human body and
mind. It would not be too much to say that myth is the
secret opening through which the inexhaustible energies of
the cosmos pour into the human cultural manifestation.
Religions, philosophies, arts, the social forms of primitive
and historic man, prime discoveries in science and
technology, the very dreams that blister sleep, boil up from
the basic, magic ring of myth (Campbell, 1).

In this and other books, authors report on the synthesis found in comparing the
myths and legends of many different cultures. This Heros Journey is an excellent
metaphor for the inner changes or journeys that take place in heroes lives no matter
the time or place. It is the path that they traveled as they learned, grew, failed in their
attempts, and finally overcame their greatest fears.
With such a storytelling structure in place, its easy to imagine how quickly
Hollywood grasped the concept and began its implementing it in twentieth century
filmmaking. From movies like High Noon (1952) and Dances With Wolves (1990), to
The Silence of the Lambs (1991) and The Fugitive (1993), the Heros Journey provides

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the plot structure that moves protagonists along the path of greatest learning and
enlightenment.
Many times we are blessed with a motion picture that
elevates itself to true mythic stature and becomes such an
important part of our storytelling tradition that it can
transform lives and affect our culture. The Stages and
Archetypes of the Heros Journey provide a flexible,
analytical tool to understand why any movies story works
or fails. But most important, the paradigm guides us to an
understanding of why a story resonates on a universal level
by answering our deepest mysteries (Voytilla, 1).

One of the most obvious and notable filmmakers to rely heavily on the Heros
Journey is George Lucas in his epic film trilogy Star Wars (1977-1983). Here, the heroes
of a highly technological society in a different world confront the same demons,
challenges, and marvels as did heroes of old. The list of notable filmmakers who have
relied upon the Heros Journey as a basis for their plot structure make a long and
prestigious list that includes the names of writer-directors John Carpenter, David
Cronenberg, and Oliver Stone and also includes directors Steven Spielberg, Milos
Forman, John Ford and Ridley Scott.
The Heros Journey does not encompass only one genre of film. It spans the
diverse spectrum of all narrative film. It provides a structure for the most serious of
dramas, the most lovable of animated masterpieces from Disney, and even gives direction
to the silliest of the slapstick and sappiest romantic comedies.
It is our human tendency to learn about ourselves by comparison. Myth provides
the perfect mechanism for us to gain understanding as to the meaning in our lives and our
place in the universe.


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We need for life to signify, to touch the eternal, to
understand the mysterious, to find out who we areWhat
were seeking is an experience of being alive, so that our
life experiences on the purely physical plane will have
resonances within our own being and reality, so that we
actually feel the rapture of being alive. The Heros Journey
provides an effective means by which storytellers can base
their own adventures in a way that will be understandable
and entertaining to the human race (Campbell; Moyers, 4).

Mythical structure is nothing new, but its role in modern films has allowed for
Hollywood to reach out and communicate to a larger audience on levels that are
unprecedented in the history of mankind. Modern films have used it and achieved
enormous success by so doing.
STAGES OF THE JOURNEY
Homeostasis
Homeostasis represents a relatively stable equilibrium of elements in the life of
the hero. This is the ordinary world for him, or life as he knows it and experiences it.
However, it is imperative that the audience becomes acquainted with his world and his
unique perspectives if it is to gain any inclination as to the difficulty or enormity of the
challenges presented to the hero in his journey or quest. It also becomes the bonding
vehicle in which the audience can align its own sympathies and interests with him, and in
a sense, actively participate in the journey.

For example, if the journey begins in a galaxy far, far away, the audience must
know a bit about what life is like in that distant alien galaxy so that it can appreciate why
our hero must indeed go on this important journey. Only then can the audience be the

&
judge as to how far the hero has come and what is left to accomplish on this journey.
Only then, will the audience fully appreciate the sacrifices that will be made by our hero.
In addition, enlightening the audience as to the homeostasis of our hero provides
contrast when the storyteller removes him from his comfort zone and sends him into
perilous or awkward situations that provide conflict and irony. The hero must be pushed
and pulled into doing extraordinary things and to understand the depth of this conflict the
audience must first know what normal life means to our hero. Only then can the
audience accurately relate to the heros journey, and indeed, only then does the journey
truly become heroic.
For many modern storytellers, the task of introducing the audience to the ordinary
world of the hero presents many technical challenges. Stories do not always happen on
our own planet and in modern settings. They can take place in microscopic worlds within
our own world, in different periods of world history, or even in dreams. They can tell of
the past, present and the future and are not even bound to the laws of physics. Stories
therefore, are told in many different environments and settings.
Due to the complicated nature of presenting new ideas or new worlds to an
audience, the storyteller must provide a way for the audience to believe in or become part
of this new world about which the audience may not be acquainted. Introducing the
audience to this new world is known as the Suspension of Disbelief. The best storytellers
place great importance, and spend time and energy on getting viewers to understand the
homeostasis of the hero, and they try to do this as soon as possible. From the moment
that the lights go down, the audience submits itself voluntary and somewhat
enthusiastically to the cause. Viewers want to be taken on a journey and have a good

'
experience. However, the audience quickly decides whether or not it will suspend its
disbelief and invest its attention and sympathies. All of this rides on whether or not the
storyteller has done a good job of setting up a believable ordinary world, or homeostasis,
for our hero.
One of the most efficient examples of this suspension of disbelief comes from the
movie Star Wars. Immediately after the Twentieth Century Fox logo disappears, a black
screen shows futuristic text saying, Long ago in a galaxy far, far away. Those
simple words do more to suspend disbelief and present the ordinary world to the viewer
than at first glance is recognizable. Immediately the mind of each viewer knows that it is
now in the distant past, and modern societys rules and politics are not valid there. It is
also understood that the audience is now in another galaxy and that what is currently
known about space and time might not be the case in this story. All of this suspension of
disbelief is achieved in the first thirty seconds of the film in a brilliant and very efficient
manner.
The Call To Adventure
Once the suspension of disbelief has been accomplished, homeostasis established,
and the viewers are acquainted with the normal balance of the heros world, then out of
necessity there must be something that will change the status quo or thrust the hero into
uncomfortable territory. It is a Call to Adventure, a grand summons that beckons the
hero to leave old concepts and journey forth into new ways of being (Houston, 201).
This is known as an inciting incident, or a turning point in which the hero is faced with
possibilities that will require him to make the decision to leave this ordinary world, to

(
give up his comfort, to move outside of his every day activities, and answer the Call to
Adventure. It is a major dilemma. The hero must weigh his options and make a decision.
In Star Wars, Luke Skywalker stumbles upon a recording of Princess Leia
pleading for Obi-wans help. In The Lord of the Rings, Frodo Baggins learns from
Gandalf The Wizard the dark history of the one ring and comes to understand that the fate
of Middle-Earth rests upon his shoulders. In The Count of Monte Cristo, Edmund Dantes
is betrayed by his best friend and consequently arrested and put into prison to serve a life
sentence.
Refusal Of The Call
The problem of the hero now becomes how to respond to
the Call to Adventure Youre being asked to say yes to a
great unknown, to an adventure that will be exciting but
also dangerous and even life-threatening (Vogler, 107).

Therefore, the hero doesnt always want to accept the call to adventure and may,
at first, reject it outright. In Star Wars, Luke rejects Obi-Wans challenge to learn the
ways of The Force and join him on the quest to rescue the princess. Instead, Luke goes
home to his uncles farm. In The African Queen, Charlie refuses the call to turn the boat
into a torpedo but reluctantly agrees to take Rose down the river. In The Godfather,
Michael Corleone is disinclined to get involved with his familys business and attempts
to distance himself from it altogether. In Rocky, Rocky Balboa turns down the
opportunity to fight the heavyweight champion of the world, Apollo Creed, and prefers
instead to work as his sparring partner. Edmond Dantes, Count of Monte Cristo, resigns
himself to death in prison rather than work arduously to escape and take his revenge.
The Refusal of the Call is a significant element in the heros journey because it
underscores the fears, dangers, and challenges that the hero faces. The audience is

)
reminded of the insecurities and reluctance of the hero and his unwillingness to leave
homeostasis. But this reluctance also reminds viewers of the significance of the journey
itself, and the impending consequences associated with beginning, or not beginning, the
journey.
Meeting The Mentor
Sometimes, it is imperative that the hero be given guidance or encouragement to
impel him into the unknown world or adventure. This is the role of the mentor. The
mentor offers advice, support, and sometimes puts forth strict warnings. The mentor can
be a Merlin-like character, a wizard, a fairy Godmother, a guilty conscience, or even a
crazy uncle. For Frodo, this is Gandalf. Luke Skywalker has Obi-Wan. Dorothy meets
Glenda, the good witch of the North. Rocky is taken under the wing of the crusty old
coach Mickey, and so on. All of these mentors serve to help the hero get started on his
journey with confidence and reassurance.
Ultimately, however, it is incumbent upon the hero to navigate this journey alone.
The mentor will occasionally make an appearance to aid the hero, but it is indeed the hero
who must move forward. The mentor can certainly assist the cause by giving the hero
knowledge, special tools, or gadgets to use for protection or wisdom. Dumbledor gives
Harry Potter an invisibility cloak, Glenda puts red slippers on Dorothys feet, and Luke
Skywalker is given his fathers light-saber. The mentor furnishes these devices to the
hero as a way of providing protection and encouragement to face the unknown journey
ahead.



*
The First Threshold
Once the hero fully commits to the journey, he crosses what is known as the first
threshold and moves into a new world. He agrees to take upon himself the
responsibilities of dealing with the problem or dilemma issued by the call to adventure.
The journey begins for the hero and his objectives are made clear. He acts with purpose
and moves intrepidly toward solving the crisis. This is no small task because it involves
facing the unknown. Consequences are made real, and the hero must fully commit. He
enters unique world according to author Christopher Vogler.
A strange no-mans-land, a world between worlds, a zone
of crossing that may be desolate and lonely, or in places,
crowded with life. You sense the presence of other beings,
other forces with sharp thorns or claws, guarding the way
to the treasure you seek. But theres no turning back now,
we all feel it; the adventure has begun for good or ill
(Vogler, 127).

This stage of the journey moves the story along quickly. We are no longer at
homeostasis and in the ordinary world.
In Chinatown, Gittes decides to take the new case and discover if Hollis Mulwray
is having an affair. In The Fugitive, Richard Kimball decides to go on the run and find
his wifes murderer. In Dances with Wolves, John Dunbar takes bold action and decides
to approach the Sioux village. Dorothy begins her journey down the yellow-brick road.
Tests, Challenges, Teammates
As the hero progresses into the new unknown world, he is defied and tested
almost immediately. This comes in many different forms or methods, and sometimes
even comes from a preliminary nave attempt to solve the main dilemma alone or in a
foolish manner. But with these early challenges, the hero gains wisdom and

"+
understanding that will prove useful in the end. Also appearing are new villains and
obstacles which make the journey a little bit harder to accomplish. But thankfully, the
hero is also introduced to new allies or teammates along the path who can in someway
offer assistance and advice.
In film, the initial tests typically come in a bar or cantina scene. From Ricks Caf
in Casablanca to the cantina scene in Star Wars to any number of bar scenes in western
films, this is where enemies are discovered and allies are made. In Jaws, Brody confronts
the mayor and other business owners about their lack of attention to the impending
danger. Only Hooper and Quint provide support for his journey. Thus, the hero must
prove himself formidable, gain wisdom, or discover new allies to aid him in the journey.
Approach The Inmost Cave
There comes a point in the heros journey where he must unavoidably face death
and overcome it. This death can be actual or metaphorical, but either way must bring
about a worst-case scenario.
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 (Vogler,
145).

Nevertheless, the hero must press on and try to obtain the goal, the prize, or whatever it
was that propelled him into the journey in the first place. He must enter a place where
the most danger occurs and where he will either succeed or fail.
Dorothy must enter into the witchs castle and get her broomstick. Luke
Skywalker gets sucked into the Death Star and must face Darth Vader in order to rescue
the princess. Frodo Baggins must actually travel into Mordor and climb into the evil

""
Saurons Mount Doom to destroy the ring. In E.T. The Extra-Terrestrial, Elliot must take
E.T. to the forest grove and install the interstellar phone without being seen. Axel Foley
marches into the precincts of his enemies in Beverly Hills Cop. Clint Eastwoods
character in Unforgiven rides into the inmost cave and faces the sheriff.
All of this takes place to further test and prove the hero worthy of obtaining his
goal. This is where all may be gained if the hero is successful, but also, this can be the
place where all is lost and total defeat can become a bitter reality.
The Ordeal
When the hero faces his biggest challenge and will either fail or succeed, he must
also face his greatest fear. This is the lowest point for the hero. The point of doom or of
guaranteed failure. The audience is left in suspension wondering if the hero will indeed
continue to fight to the death, or whether or not he will give up and succumb to his
enemy.
The hero must overcome his fears in order to be resurrected and reborn. The
ordeal is a magical element of heroic myth. The audience connects with the hero and has
followed him along this journey. His successes and failures have been shared and
ingrained into the audience. This ordeal, or darkest moment for the hero, allows the
audience to understand the depths of the sacrifice made by the hero, but also serves to
render elation when the hero revives and brings forth new life.
Romantic comedies provide an easy demonstration of this ordeal. This is where
the relationship that the audience has been waiting for is at its absolute lowest point. The
audience is left feeling that there is absolutely no chance that the romance can be revived.
This is the second part of the phrase boy gets girl, boy loses girl, boy gets girl. Every

"#
heros journey needs a moment where either the hero or his ultimate goals are in mortal
jeopardy.
Reward
Having survived the ordeal by slaying the dragon, rescuing the princess, or
defeating the wicked witch, the hero now has claim on the reward or elixir. This can be a
sword or a secret weapon. It can be knowledge or greater understanding. It can be
reconciliation with a love interest or family member. The audience has reason to
celebrate at this point because the main goal of the hero seems to have been achieved. He
has faced death and come out victorious. He has reconciled the main sources of conflict
that initially caused him to leave his ordinary world. He has won, or so it would seem.
Harry Potter gains the reward by finding the Sorcerers Stone in his pocket.
Dorothy defeats the wicked witch, takes her broomstick and discovers the way back
home. Luke Skywalker saves the princess and recovers the schematics to the Death Star.
In The Incredibles, Mr. Incredible rescues his family, saves the city, and destroys the
enormous spider robot. Benjamin Gates successfully finds the treasure of the knights
Templar in National Treasure. The Count of Monte Cristo exacts his revenge, reunites
with his love, and enjoys enormous wealth.
The Road Back
At this stage in the heros journey, victory seems to have been achieved. The
hero has more or less accomplished his main objective. But the hero is not quite finished
on his journey. The consequences of his victory over the ordeal must be faced and
understood. The hero must completely reconcile with his antagonist or he will find that
unsympathetic powers will come at him one last time with a vengeance.

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The hero makes an attempt to return to his own ordinary world. He makes a
concerted effort to leave the new, special world. However, new tasks, tests and
challenges await the hero that may not have been his main objective or goal, but
nevertheless are necessary for his survival and indeed his only hope of returning to
homeostasis relies greatly upon his ability to succeed.
Luke Skywalker (Star Wars) escapes the Death Star but is pursued by Darth
Vader. Indiana Jones (Raiders of the Lost Ark) recovers the lost Ark of the Covenant and
rescues Mariam only to be caught by a German submarine. Charlie and Rose (African
Queen) miraculously make it to Lake Victoria only to be captured by the Germans.
Dorothy (Wizard of Oz) defeats the wicked witch of the west only to watch the great Oz
fly away in his balloon without taking her back to Kansas. Hannibal Lecter (Silence of
the Lambs) escapes prison and begins to kill again.
Resurrection
One last final test remains for the hero to pass through before he can return to the
ordinary world with the reward. The effects of his victory to gain the reward now seem
short-lived and he must now focus on a new challenge that will test him as much, if not
more than, the main ordeal.
The hero is better equipped this time to face the new challenge. He uses his
knowledge and experience to aid him in his last attempt. He must now ultimately finish
what was started upon leaving the ordinary world and become a new, clean and
admirable hero.
Luke Skywalker must enter the final battle and actually destroy the Death Star.
Dr. Richard Kimball (The Fugitive) begins his resurrection by entering into the

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convention and confronting Dr. Nichols about the falsified studies and the death of his
wife. Indiana Jones (Raiders of the Lost Ark) must witness the opening of the Ark of the
Covenant. Mr. Incredible (The Incredibles) must actually defeat Syndrome once and for
all. Dantes (Count of Monte Cristo) confronts Fernand Mondego one last time in a dual
to the death. This resurrection is the final test of the hero before he can return to the
ordinary world.
Return With Honor / A New Life
The hero now returns to the ordinary world. But without bringing something back
with him the journey seems wasted and the hero may actually be destined to go on the
journey all over again. Most often, the hero brings back knowledge, experience, or a
greater understanding of life and an appreciation of it. Sometimes it can be an amorous
relationship, a bit of magic, or even an actual treasure won by achieving victory. But
whatever it is, it will represent that the hero is indeed a changed person and has new
knowledge and skills that were not present when he set out on the journey.
In Star Wars, Luke Skywalker learns about the force, rescues the princess, and
brings peace and balance to the galaxy. What an amazing change from the young farm
boy that began this incredible journey! Indiana Jones recovers the Ark of the Covenant
and defeats the German army in the process. Dr. Richard Kimball (The Fugitive)
discovers his wifes real killer. He then secures his own freedom, and also brings down a
dishonest drug company. This is a big change from the modest physician who began this
journey. In The Wizard of Oz, Dorothy discovers that she really is loved and that theres
no place like home. This comes from her experience defeating the Wicked Witch of the
West and her amazing journey through the Land of Oz.

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She has learned that she is much more than a frustrated farm
girl; she is now a hero who has traveled far and risked
everything, returning home as an entirely different person
(Houston, 2594).

Accomplishing the main goal and returning with knowledge and experience, the
hero is now finished with his goal. The real treasure gained is in experience and wisdom.
Both the hero and the audience participate in the journey and therefore both gain the
benefit that it provides. Like a good story, the journey leaves us with an experience that
changes us, makes us more attentive and aware of life and our own circumstances. The
Heros Journey makes us aware of our own humanity and all the ups and downs that play
a part in our lives. It makes us more conscious of our own standing in the universe and
helps us to relate better to one another.

The Heros Journey in Me and Caleb
Me and Caleb is a coming-of-age story that takes place in the Ozark
region of Missouri and Arkansas. It is a screenplay adaptation of a 1962 award-winning
childrens book. It covers the lives and adventures of two young, country boys growing
up in the 1950s.
In the development of the feature-length screenplay adaptation Me and Caleb, I
structure the story to truly reflect the Heros Journey and each of its individual stages.
Each of the different stages of the journey are included in the feature-length screenplay,
and I have taken a very episodic adventure book and converted it into a Heros Journey.




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Homeostasis / Ordinary World
The stunning Ozark hills and countryside provide the perfect homeostasis for Bud
Wallins (the me of Me and Caleb) ordinary world. Buds small, but humble home
rests on a steep hill in the miniscule town of Harleyville, MO. The summer months
provide brown colors, dusty pathways, and excruciatingly hot surroundings for Bud and
his nine-year-old brother, Caleb. Its the perfect setting for two boys who love to fish,
hunt, and chase squirrels through the brush.
Right off the bat, Bud invites us into his world where being a boy in summertime
is to be celebrated and where being young is savored, rather than rushed. Bud encounters
a dog that has been poisoned (Petunia) underneath his familys home and quickly adopts
her and nurses her back to health. The two are rarely separated for the remainder of the
journey until Bud approaches the Inmost Cave.
Through this period of homeostasis, a glimpse of the fiery but fun personality of
Buds younger brother, Caleb is revealed. The two boys reflect all that is brotherhood.
They are either best friends or worst enemies, depending on the day or the heat of the
summer sun. Buds mother and father also play a major roll in the ordinary world. Their
personalities play a role in shaping his journey and they also play the role of mentor at
times.
Another major element in the ordinary world of Bud Wallins is the fact that he is
twelve-years old during the 1950s. American society still emits a certain air of
innocence and purity. Family values have not changed or eroded in a noticeable way; at
least not in the Ozarks. And thus, this innocent environment provides the perfect
backdrop for a coming-of-age tale that follows the Heros Journey step for step.

"(
Call to Adventure
In keeping with most good inciting incidents or calls to adventure, Bud is shaken
from his ordinary world, or status quo, by the arrival of the beautiful new neighbor girl,
Angelica Parker. He is simply awestruck and cant stop thinking about her and her
perfect blonde hair. Suddenly, running around through the countryside, fishing, and other
boyish activities just dont seem to matter as much anymore.
Caleb is the first to notice the change in Buds personality. Hes having none of it
and tries desperately to get Bud to come back to the ordinary world, without any success.
But Bud isnt the only kid in the neighborhood whos noticed Angelicas beauty and
charms. Dink Fowler strolls into the story announcing that Angelica is my girl. This
all but cements the fact that Bud wont be returning to homeostasis anytime soon, as a
challenge is quickly made between the two boys with the winner gaining the right to
claim the affection of Angelica.
The challenge itself becomes a major element in the story and pushes Bud along
his journey. Both Bud and Dink love space exploration and everything to do with space
and the new space age. By looking through a magazine together, they discover a unique
way to earn prizes in time for the fall festival in town. There is a business that will let the
boys sell Christmas cards throughout the year and award a variety of prizes depending on
the number of cards sold. Immediately the boys gravitate to the grand prize, a Houdini
Space Hovercraft. Thus, the competition to sell the most cards and out perform the other
one becomes the main challenge between the boys. The winner will take all. Angelica
Parker and a Houdini Space Hovercraft!


")

Refusal of the Call
Although Buds refusal of the call is brief, there is a point at which he considers
forgetting the entire idea. He considers returning to a life of fishing, rock throwing, and
bicycle building. But it is a brief refusal that pales in comparison to the possibility of
winning the affection of Angelica Parker, and the Houdini Space Hovercraft is the perfect
way to do just that. The new, mysterious possibilities of growing up to be a man are too
much of a pull into his new journey for Bud to refuse.
Meeting with the Mentor
In an attempt to gain an advantage on his rival, Bud tries to enlist the aid of his
mentor, Grandpa. The boys travel to the big city to stay with Grandpa for a few days.
By doing so, Bud gains knowledge in the fine art of hand fishing and how to catch an eel.
But the most important occurrence is when grandpa agrees to help Bud sell Christmas
cards in the big city. He even volunteers to buy a few boxes, which will later become his
downfall and Buds resurrection moment.
Grandpa has a special way of making Bud feel important and he plays a major
role in helping Bud adjust to this new world on his way to manhood. Grandpa reveals to
Bud that it is still perfectly fine to continue to do some of the same things, like fishing,
and that girls and women are worthy of his consideration and respect. Buds father,
Orville, also participates in the role of mentor for this purpose.




"*
Crossing the First Threshold
Bud begins to cross the first threshold by attempting to impress Angelica on his
own. Not yet armed with the fantastic Houdini Space Hovercraft, Bud relies on his own
intuition and invention, his bicycle. He attempts to complete an amazing jump from a
makeshift ramp set up down the hill from his own home. The timing is perfect, as
Angelica plays in her front yard in the perfect location to watch Bud soar through the air
with grace and precision.
There is only one problem. Bud entrusts his younger brother, Caleb to tighten the
nuts of his front wheel while Bud attends to other things. Caleb promptly gets distracted
and absolutely forgets to complete his important assignment. This, of course, results in
utter disaster for Bud as he crashes dramatically in full view of Angelica. Instead of
impressing, Bud ends up gaining very little from the experience other than bumps and
bruises and maybe just a little pity from the beautiful Angelica.
Tests, Allies, Enemies
Both Bud and Caleb encounter tests, allies, and enemies along the journey. As
pretty and perfect as Angelica the new neighbor is perceived, Lawrence is diabolical and
purposefully mean. He begins by destroying an elm tree in the yard, smashes Bud on the
head with a large stick, and when caught, successfully places the blame squarely on
Buds shoulders.
Bud realizes for the first time that he has entered a new world that is wonderful
(as long as Angelica is attached to it), but also can be tricky and terrible. He discovers
that his desire to woo and court Angelica will be more difficult that he first imagined.
Not only will he have to get past Lawrence, Angelicas father (who now believes him to

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be a destructive, mischievous boy), Angelica may not want to participate and cooperate.
She may not be agreeable. After all, Dink has proclaimed that she is his girl and so
Bud must win her away from his archrival.
Bud also begins to solidify his relationship with Caleb. They begin the journey
not seeing eye to eye and Bud is frustrated by his younger brothers pranks and sarcastic
remarks, but Bud slowly begins to appreciate his sibling and to include him as a part of
his journey. Caleb truly becomes Buds sidekick at this stage of the story.
Bud is tested over and over again in his attempt to sell Christmas cards in August
in an effort to defeat Dink and win the affection of Angelica. Lawrence has proven
himself to be a force to be reckoned with, and the young brothers attempt to take him out
of the equation with a variety of schemes, including an enormous sack of slimy garbage
hurled from across the street by a makeshift catapult. This only ends up backfiring on the
boys as the garbage sails past its unsuspecting target and flies into Angelicas living
room.
True to form, the problems and tests begin small but slowly become bigger and
more important as Bud forges ahead on his journey. The stakes are raised over and over
again making Buds initial decision to pursue the beautiful Angelica a simplistic and
unrealistic fantasy.
Approach to the Inmost Cave
At the Approach to the Inmost Cave, Bud and Caleb become more and more
antagonistic towards each other. Caleb is seen as the pesky little brother, always wanting
to get in the way. And Bud is seen through Calebs eyes as somewhat of a traitor in the

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sense that he is leaving behind the old ways all because of a silly girl. Caleb simply
cant understand Buds infatuation with Angelica.
Bud begins to forge other bonds, and this too plays a role in his separation from
Caleb. His father tries to spend more quality time alone with just him and Bud. Myron,
Clint, and the other members of the 693402 club come calling and invite Bud to join
(while excluding Caleb for being too young). This, in its own sense, is a right of passage
for Bud. Hes being seen as one of the older boys, and not simply a kid anymore.
Also, Caleb innocently confides to Angelica Buds amorous intentions, and this
increases the tension between the young brothers because it is a line of privacy that
should never be crossed. This also causes the relationship between Bud and Angelica to
be strained, and in the end, in jeopardy. Caleb doesnt realize what he has done by giving
away Buds secret to Angelica. He doesnt realize the trauma that this will put on their
relationship as well as his own connection with Bud.
Ordeal
The ordeal begins with a minor victory when Bud saves Lawrence from the hands
of two hapless hobos. Thus, things start to take a dramatic swing towards defeat for Bud.
The deadline for selling Christmas cards fast approaches and Bud realizes that he will fall
short of not only beating Dink Fowler, but also of getting any real prize that could
possibly impress Angelica.
Buds relationship with Caleb is also strained. Although Caleb played a key role
in defeating the hobos, he continues to annoy and to hamper Buds status as a grown
up. The relationship with Angelica is shattered once Bud nervously admits that it was he

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and Caleb who slung garbage into her living room. Angelicas frustration with boys in
general boils over and she vents most of it onto Buds unsuspecting shoulders.
Devastated by his argument with Angelica, Bud becomes a recluse and doesnt
want to interact with anyone. Feeling the pressure to spend more quality time with his
sons, Orville invites Bud to go squirrel hunting. This seems to be something that Bud
finds agreeable. The problem escalates when Caleb invites himself to come along.
Caleb single handedly turns the hunt into a disaster. He spills the ammunition
throughout the forest, and is so noisy that every creature in the woods disappears long
before the boys arrive. Then, the day is absolutely ruined when Petunia, the coonhound,
falls into a steep ravine and must be euthanized. Bud, in an act of love and maturity,
decides that he will be the one to put her out of her misery. He becomes a young man
forced to grow up all at once.
Bud has never been more depressed. All seems to have gone wrong for him. Hes
not sure what to do in order to make things right again, but it looks as though everything
that could possibly go wrong has gone terribly bad for him. Not only does Angelica not
want anything to do with him, but his faithful dog, Petunia, is now gone. He faces certain
humiliation at the hands of the ever-arrogant Dink Fowler over the Christmas card sales
and all of it seems to somehow involve Caleb.
Bud sits quietly contemplating his pathetic existence and pessimistic future when
he gets a surprise visit from Angelica who quickly offers her condolences over the death
of Petunia. She realizes the severity of the moment and also goes out of her way to make
peace with Bud in an effort to alleviate a portion of his sorrow.


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Reward
Mr. Wallins, too, tries to change Buds focus from the events of the hunt, and
suggests that the family take the afternoon and go see the picture show. And in one of
Orvilles typical bungles, he takes the family to see the new film, Old Yeller. Needless
to say, the drive home from the movie theater is a somber one.
The Road Back
The Road Back begins when Bud is renewed by his determination to defeat Dink
Fowler. Bud decides to make one last push at selling Christmas cards. He and Caleb
head north to make sales in Grandpas neck of the woods where they enjoy moderate
success.
The boys from the 693402 reunite to play Halloween pranks on the Riverside
boys and their neighborhood. This leads to minor victories over smaller antagonists and
even lands Dink Fowler into hot water. Although Buds father finds out about the pranks
performed by Bud and Caleb, he seems to understand their motivation and shows a
willingness to let it slide. This acts as a bonding moment between Bud and his father and
signifies a small step to Buds being accepted as more of an equal rather than the usual
parent-child relationship.
Resurrection
Buds Resurrection begins when the deadline to sell Christmas cards is about to
expire. He has fallen short of his goal (by one-hundred seventy six boxes) and becomes
too discouraged to even settle for a lesser prize. Caleb seizes this opportunity and
decides to surprise Bud by finishing the order for him. He gets on the phone and calls
Grandpa, who absent-mindedly agrees to help Caleb by purchasing a few boxes.

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Caleb hurries to the post office and submits Buds order to the Belefonte
Corporation. Hes very excited to make things right for Bud. On his way home, Caleb
notices that Lawrence is packed up and ready to leave. While waiting for his ride,
Lawrence attempts to shoot a target with his new bow and arrow set.
Caleb cant let the opportunity to defeat Lawrence pass, especially because
Lawrence has only been visiting for the summer and now is leaving, and maybe forever.
So, Caleb challenges Lawrence to an archery contest.
Return with the Elixir
Finally, after what seems an eternity to Caleb, the Houdini Hovercraft arrives.
Caleb gleefully puts it together (in his own makeshift way) and prepares to present it to
Bud. Grandpa suddenly arrives on the scene with a bill for two hundred boxes of Houdini
Christmas Cards. He wants an explanation and waits for Caleb to provide it. Instead,
Caleb bounds through the front door riding the sputtering, hiccupping hovercraft. His
grand entrance provides an enormous commotion as well as a minor explosion.
Bud realizes and appreciates his young brothers gesture. They recommit to
maintaining their close relationship, but both boys realize that Bud has changed and will
pursue the dreams and aspirations of a normal teen-aged boy. Bud convinces Caleb of
his own importance and worth, as well as his usefulness in defeating enemies.
With things reconciled at home, Bud and Angelica realize that they like each
others company and agree to get a soda down at the five and dime store. Their
relationship can begin again as a result of the Heros Journey that transformed Bud
from an immature, selfish boy, to a more mature, not so selfish young man. Perfect by no
means, but changed nonetheless.

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A common thread among films of the past and my feature-length screenplay (Me
and Caleb), is the successful storytelling structure known as the Heros Journey. It
provides a realistic framework for audiences to comprehend and understand. It allows
humans to participate with and grow with both modern-day and ancient protagonists. It
gives the audience an experience that fosters growth and an educational experience by
having participated in the journey with each individual hero. And because Dorothys
journey, Luke Skywalkers journey, Frodo Baggins journey, and Bud Wallins journey is
also our journey, we too can understand the sacrifices made and the changes that have
taken place.
As Joseph Campbell himself says,
Throughout the inhabited world, in all times and under
every circumstance, myths of man have flourished; and
they have been the living inspiration of whatever else may
have appeared out of the activities of the human body and
mind (Campbell, 334).

Indeed, the structure of myth is ever present in storytelling and even humanity itself. It
will continue to be a standard for effective storytelling throughout time and as mankind
evolves. The scenery may change, the technology may progress and enlighten, but the
challenges faced in the Heros Journey will remain timeless and constant.







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Bibliography

BOOKS

Campbell, Joseph; Bill Moyers. The Power of Myth. New York, NY: Knopf Doubleday
Publishing Group, 2011. Kindle Edition.

Campbell, Joseph. A Joseph Campbell Companion: Reflections on the Art of Living
(Collected Works of Joseph Campbell). Joseph Campbell Foundation, 2011. Kindle
Edition.

Campbell, Joseph. The Hero With A Thousand Faces. Princeton, NJ: Joseph Campbell
Foundation, 2008. Print.

Houston, Jean. The Wizard of Us: Transformational Lessons from Oz. New York, NY:
Atria Books/Beyond Words, 2012. Kindle Edition.

Vogler, Christopher. The Writers Journey: Mythic Structure for Writers. Studio City,
CA: Michael Weise Productions, 1998. Print.

Voytilla, Stuart. Myth and the Movies: Discovering the Mythic Structure of 50
Unforgettable Films. Studio City, CA: Michael Weise Productions, 1999. Print.


FILMS

Beverly Hills Cop. Dir. Marin Brest. Paramount Pictures, 1984. Theatrical.

Casablanca. Dir. Michael Curtiz. Warner Bros, 1942. Theatrical.

Chinatown. Dir. Roman Polanski. Paramount Pictures, 1974. Theatrical.

Dances With Wolves. Dir. Kevin Costner. Orion Pictures Corporation, 1990. Theatrical.

E.T. The Extra-Terrestrial. Dir. Steven Spielberg. Universal Pictures, 1982. Theatrical.

Harry Potter and the Sorcerers Stone. Dir. Chris Columbus. Warner Bros, 2001.
Theatrical.

High Noon. Dir. Fred Zinneman. United Artists, 1952. Theatrical.

Jaws. Dir. Steven Spielberg. Universal Pictures, 1975. Theatrical.

National Treasure. Dir. Jon Turteltaub. Buena Vista Pictures, 2004. Theatrical.

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!"#$%&' )* +,% -)'+ .&/, -./, 012324 05.2672/8, 9:/:;<=41 9.>1=/2?@ "*)", Theatrical.

Rocky. Dir. John G. Alvidson. United Artists, 1976. Theatrical.

Seven Samurai. Dir. Akira Kurosawa. Toho Company, 1954. Theatrical.

Star Wars. Dir. George Lucas. Twentieth Century Fox Film Corporation, 1977.
Theatrical.

The African Queen. Dir. John Huston. United Artists, 1951. Theatrical.

The Count of Monte Cristo. Dir. Kevin Reynolds. Buena Vista Pictures, 2002. Theatrical.

The Fugitive. Dir. Andrew Davis. Warner Brothers, 1993. Theatrical.

The Godfather. Dir. Francis Ford Coppola. Paramount Pictures, 1972. Theatrical.

The Incredibles. Dir. Brad Bird. Buena Vista Pictures, 2004. Theatrical.

The Lord of the Rings: The Fellowship of the Ring. Dir. Peter Jackson. New Line
Cinema, 2001. Theatrical.

The Silence of the Lambs. Dir. Jonathan Demme. Orion Pictures Corporation, 1991.
Theatrical.

The Wizard of Oz. Dir. Victor Fleming. Metro-Goldwyn-Mayer (MGM), 1939.
Theatrical.

Unforgiven. Dir. Clint Eastwood. Warner Bros, 1992. Theatrical.