New Equilibrium, John Truby, The Anatomy of Story, p. 50–51

At the new equilibrium, everything returns to normal, and all desire is gone. Except there is now one major difference. The hero has moved to a higher or lower level as a result of going through his crucible. A fundamental and permanent change has occured in the hero. If the self-revelation is positive — the hero realizes who he truly is and learns how to live properly in the world — he moves to a higher level. If the hero has a negative revelation — learning he has commited a terrible crime that expresses a corrupt personal flaw — or is incapable of having a self-revelation, the hero falls or is destroyed.
Let’s look at some examples in which the hero rises.
DIE HARD
John has defeated the criminals, saved his wife, and reaffirmed their love.
PRETTY WOMAN
Vivian has left the world of prostitution behind is with the man she loves (who, fortunately, is a billionaire).
THE SILENCE OF THE LAMBS
Clarice has brought Buffalo Bill to justice, has become an excellent FBI agent, and has apparently conquered her terrifying nightmares.
The following document the fall of the hero.
OEDIPUS THE KING
The hero discovers he has contributed to someone’s murder and ends up a shell-shocked man desperately tearing up his apartment to find a listening device.
VERTIGO
The hero drags the woman he loves to the top of a tower to get her to confess to a murder and then looks down in horror when the woman, overcome by guilt, accidentally falls to her death.
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