[Quick Summary: While wounded airman tries to get out of flying again, he falls in and out of memories.]
No disrespect to anyone, but this story didn't appeal to me.
It all seemed pointless.
(Perhaps that was the point, since the script ridicules war (satire), and mocks black marketing (farce).)
I did like how this script excels in blurring reality and dream state:
ex. "Tappman opens the book, then closes it again and looks up. His eye focus on something in the distance. He blinks.
SHOT - TAPPMAN'S POV
In the distance, sitting high up on the branch of a tree, watching the ceremony, is Yossarian, naked.
SHOT - TAPPMAN
He shakes his head.
MAJOR MAJOR: Is there something wrong?
TAPPMAN: I - no - I thought I saw something.
MAJOR MAJOR: A naked man in a tree?
TAPPMAN: Yes, That's it.
DANBY (Looking down, slightly embarrassed): That's just Yossarian.
TAPPMAN: Oh. Well - in that case -
Tappman opens the book and begins reading the thirteenth Psalm."
Is this reality? A dream? I couldn't tell.
However, it works here because the story didn't rely on one or the other.
WHAT I'VE LEARNED: Most stories want the audience to distinguish between reality and dream state. This one deliberately wants them blurred.
Catch-22 (1970)(second draft)
by Buck Henry
Adapted from the novel Catch-22 by Joseph Heller