Again I'm going to go through this because I'm getting fed up with being told I don't know what I'm talking about..I have logical stuff to back up what I say. I was taught this in film studies and for T&T and gore to even get to where they are today and to be taken seriously..they had to learn how to structure a decent story in the same way I'm being taught. They took the same subject as me in college and uni.
1) THE HERO IS INTRODUCED IN HIS ORDINARY WORLD.Most stories take place in a special world, a world that is new and
alien to its hero. If you're going to tell a story about a fish out
of his customary element, you first have to create a contrast by
showing him in his mundane, ordinary world. In WITNESS you see both
the Amish boy and the policeman in their ordinary worlds before they
are thrust into alien worlds -- the farmboy into the city, and the
city cop into the unfamiliar countryside. In STAR WARS you see Luke
Skywalker bored to death as a farmboy before he takes on the
universe.
Elizabeth's ordinary world is life at port Royal and Will. Feelings she is comfortable with. Jack and her {b]deeper feelings for him[/b] are the special world is introduced to her life, she feels like a fish out of water, they are "new"..its scary and this is obvious because when you see her feelings for him get brought into question she's afraid. (the lust is something totally different, the pirate behaviour is not the special world she willingly does these things) What she feers are the deeper feelings she has for him. Elizabeth is stuck face to face with her special world with all this fear for the majority of the movie..its very dangerous for her to be stuck on this stage for so long...especially when the thing you fear is stuck there with you..this is before she has had any help or guidance in the special world. Jack and Will didnt have this..this is why thier refusal of the calls were not climactic ones..they were simple "no's"
2) THE CALL TO ADVENTURE.The hero is presented with a problem, challenge, or adventure.
Maybe the land is dying, as in the Arthur stories about the search
for the Holy Grail. In STAR WARS again, it's Princess Leia's
holographic message to Obi Wan Kenobi, who asks Luke to join in the
quest. In detective stories, it's the hero accepting a new case.
In romantic comedies it could be the first sight of that special --
but annoying someone the hero or heroine will be pursuing/sparring
with the remainder of the story.
This is the moment Jack Sparrow basically asks her to be with him by coming back for her. He has decided to make a commitment to her..and he's dead serious about it because he risked his life to come back for her...this is the moment..."Liz will you be with Jack?" he obviously cares about you so much he wants and needs you in his life..He's brave because of you...you give him strength
3) THE HERO IS RELUCTANT AT FIRST.Often at this point, the hero balks at the threshold of adventure.
After all, he or she is facing the greatest of all fears -- fear of
the unknown. At this point Luke refuses Obi Wan's call to adventure,
and returns to his aunt and uncle's farmhouse, only to find they
have been barbqued by the Emperor's stormtroopers. Suddenly Luke is
no longer reluctant, and is eager to undertake the adventure. He is
motivated.
How interesting it is that once Liz is with will again..she's clearly not happy about her decision..she goes back to what she thought she should want most and finds out its really not..she's now motivated.
4) THE HERO IS ENCOURAGED BY THE WISE OLD MAN OR WOMAN.By this time many stories will have introduced a Merlin-like
character who is the hero's mentor. In JAWS it's the crusty Robert
Shaw character who knows all about sharks; in the mythology of the
Mary Tyler Moore Show, it's Lou Grant. The mentor gives advice and
sometimes magical weapons. This is Obi Wan Kenobi giving Luke
Skywalker his father's light sabre.
The mentor can only go so far with the hero. Eventually the hero
must face the unknown by himself. Sometimes the wise old man is
required to give the hero a swift kick in the pants to get the
adventure going.
Tia helps Liz along in finally accepting the very thing she refused earlier..she now is ready, she has the guidance
5) THE HERO PASSES THE FIRST THRESHOLD.He fully enters the special world of his story for the first time.
This is the moment at which the story takes off and the adventure
gets going. The balloon goes up, the romance begins, the plane or
spaceship blasts off, the wagon train gets rolling. Dorothy sets
out on the Yellow Brick Road. The hero is now committed to his
journey... and there's no turning back.
Elizabeth has done this when movie 2 closes..she's fully accepted the quest which is Jack Sparrow. There is no turning back.
6) THE HERO ENCOUNTERS TESTS AND HELPERS.The hero is forced to make allies and enemies in the special world,
and to pass certain tests and challenges that are part of his
training. In STAR WARS, the cantina is the setting for the forging
of an important alliance with Han Solo, and the start of an
important enmity with Jabba The Hut. In CASABLANCA, Rick's Cafe is
the setting for the "alliances and enmities" phase, and in many
westersn it's the saloon where these relationships are established.
The tests and challenges phase is represented in STAR WARS by the
scene of Obi Wan teaching Luke about the Force, as Luke is made to
learn by fighting blindfolded. The early laser battles with the
Imperial Fighters are another test which Luke passes successfully.
Elizabeth right at the start of AWE heck even the end of DMC is making new alliances and enemies, Barbossa, Sao Feng. all in order to save Jack etc
Elizabeth's refusal of the call was so climactic because she was stuck feeling like an ever growing fish out of for most of the movie. She was forced to be with the very thing she's afraid of which makes it worse and more intense..and things keep happening, the feelings keep growing the denial and anger gets worse and worse...she's thrust unprepared into the world of Jack sparrow..she's ready to be a pirate, she's ready to have sex...but her feelings for Jack are scaring the crap out of her.