Christopher Vogler The Writers Journey
villain or Shadow.
But the difference between this and previous meetings with death is that the
danger is usually on the broadest scale o f the entire story. T h e threat is not just to
the hero, but to the whole world. In other words, the stakes are at their highest.
T h e James Bond movies often climax with 0 0 7 battling the villains and then
racing against time and impossible odds to disarm some Doomsday device, such as
the atomic bomb at the climax of GoUfinger. Millions of lives are at stake. Hero, audi
ence, and world are taken right to the brink of death one more time before Bond (or
his Ally Felix Leiter) manages to yank the right wire and save us all from destruction.
THE ACTIVE HERO
It seems obvious that the hero should be the one to act in this climactic moment. But
many writers make the mistake of having the hero rescued from death by a timely
intervention from an Ally — the equivalent of the cavalry coming to save the day.
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