Many writers do not appreciate the value of Pushes and Pulls (in both directions) in every successful story and screenplay. Yet it is the Pushes and Pulls that keep the Hero in particular states, take your Hero from one state to the next, from one part of the Physical Journey to the next, from one part of the Psychological Transformation to the next and so forth.
In Gladiator (2000), Maximus was pulled forward because his wife and child were threatened. In Star Wars (1977), Luke, Han et al were pushed off Tatooine by stormtroopers. In The Godfather (1972), Michael was pushed out of New York by the threat from the other Families. In The Matrix (1999), Neo was pulled forward by Morpheus and pushed forward by Smith et al. In Planet of the Apes (1968), Taylor et al were pushed forward because they had three days before the groceries ran out.
Similarly, Pushes and Pulls work backwards, in conjunction with Resistances, to prevent the Hero from Evolving. It is this battle, between the inevitable movement forward and the inertia to remain as the Old Self that you, as a screenwriter, must manage.
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