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    character through his actions. Arguably, two significant sections of the Hero’s Journey are omitted (Refusal of the Call and the Punishment for the Refusal) – but hey, it works great.

    In the third sequence we are

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    Get Carter is another successful story that follows the Hero’s Journey template. Mirroring this template allows the screenwriter to write effective screenplays and stories.

    The very first sequence provides a lot of information - we are introduced to the hero, his character, inner challenge [escape his mob boss – his Ordinary World], the outer challenge / antagonism [find his brother’s murderer] and romantic challenge [Britt Ekland]. He is warned not to embark on the adventure (interdiction). Further, context is added [they’re watching porn movies made in Newcastle] and the status of the hero is elicited [“they’re killers, just like you.”]

    The second sequence sees the hero journey straight to the Supernatural Aid / Mentor. We get to know the hero’s character through his actions. Arguably, two significant sections of the Hero’s Journey are omitted (Refusal of the Call and the Punishment for the Refusal) – but hey, it works great.

    In the third sequence we are

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    the screenwriter to write effective screenplays and stories.

    The very first sequence provides a lot of information - we are introduced to the hero, his character, inner challenge [escape his mob boss – his Ordinary World], the outer challenge / antagonism [find his brother’s murderer] and romantic challenge [Britt Ekland]. He is warned not to embark on the adventure (interdiction). Further, context is added [they’re watching porn movies made in Newcastle] and the status of the hero is elicited [“they’re killers, just like you.”]

    The second sequence sees the hero journey straight to the Supernatural Aid / Mentor. We get to know the hero’s character through his actions. Arguably, two significant sections of the Hero’s Journey are omitted (Refusal of the Call and the Punishment for the Refusal) – but hey, it works great.

    In the third sequence we are

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    n movies made in Newcastle] and the status of the hero is elicited [“they’re killers, just like you.”]

    The second sequence sees the hero journey straight to the Supernatural Aid / Mentor. We get to know the hero’s character through his actions. Arguably, two significant sections of the Hero’s Journey are omitted (Refusal of the Call and the Punishment for the Refusal) – but hey, it works great.

    In the third sequence we are

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    character through his actions. Arguably, two significant sections of the Hero’s Journey are omitted (Refusal of the Call and the Punishment for the Refusal) – but hey, it works great.

    In the third sequence we are taken into the world of the Supernatural Aid. Strange creatures seem to inhabit this world [the people in the pub]. Again, something unusual happens – the Supernatural Aid does not appear [Margaret lets him down].

    In the fourth sequence, the hero retrieves his magical gift [the shotgun]. The antagonism is referenced [we see Jack’s brother in his coffin]. The antagonist’s presence is also felt [the jeep is watching].

    Without warning of the dangers (again unusual), the hero journeys to the First Threshold [the guesthouse]. Loyal allies are encountered [Edna, his daughter et al]. The hero searches for an antagonist [asks the funeral director and friends about his brother’s death, references the strange circumstances of the death].

    The mentor eventually appears. The hero searches for guidance from her [Margaret] but it is refused. Consequently, the

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