TODAY'S NUGGET: The Mummy (1999) - What Sets an Action/Adventure Script Apart? Behavior Expressing Inner World

[Quick Summary: An English teacher, her brother, and an ex-Legionnaire seek buried treasures, unaware they're about to unleash a vengeful mummy.]

Q: You've read a lot of action/adventure scripts.
A: Why, yes; yes, I have.

Q: If I'm writing one, what are you looking for, on a basic craft level?
A:  Does this script know it's an action/adventure? Does it deliver the tropes (movement, conflict, often locations/travel) in a smooth read?

Q: What are you looking for, on a creativity level?
A: Most writers can handle action/adventure.  ex. Car A crashes into Car B.  

What many writers find difficult is adding character.  ex. Angry at the failure to heed the stop sign, Driver A tailgates Driver B, who drives super-slow to infuriate A.

Q: So how can I add character (motives, traits, conflicts, etc.)?
A: Focus on the behavior as a physical expression of the character's internal world.

Notice in the scene below how the writer

INT. FOYER - NIGHT

O'Connell and Jonathan race into the foyer. See Henderson's shriveled body on the floor. O'Connell runs up to Evelyn's door and rattles the knob, still locked. He bends down and looks in through the KEYHOLE. [Maybe looking through the keyhole means O'Connell is jealous?]

INT. EVELYN'S ROOM - NIGHT

Imhotep cups Evelyn's face in his hands, his HANDS instantly begin to DEGENERATE and DECAY. He leans in to kiss her. [Imhotep's desire is so strong that he's willing to decay just to kiss her.]

The door starts to CRASH and BANG from O'Connell and Jonathan trying to break in. Imhotep ignores them. And KISSES Evelyn. His lips and mouth instantly start to DEGENERATE and DECAY as he kisses her. Right down to the bone.  [Imhotep is undaunted by interruptions.]

The door BURSTS OPEN with a CRASH. Evelyn wakes-up from her trance. Sees Imhotep's rotted mouth kissing her. She SCREAMS and shoves him away. Imhotep's putrid mouth grimaces in sadness. O'Connell storms in.  [The verb "storms" has added importance to it.]

O'CONNELL: Get your hands off my girl, pal. [First verbal indication of deeper feelings for Evelyn.]

Imhotep's sadness turns to anger as he spins around and faces O'Connell. Imhotep licks his fetid lips. O'Connell smirks. 

O'CONNELL: Nice lips.

Imhotep starts to move for O'Connell. O'Connell smiles. [This is confident reaction, and unusual because the bad guy is coming at you.]

O'CONNELL: Figured you might be here, so I brought a friend.

He trows the white cat at Imhotep. Imhotep instinctively catches it. He SHRIEKS, drops the cat and stumbles back toward the window, --which suddenly BLOWS OPEN.

Imhotep CRIES OUT, spins like a dervish, then literally BURSTS INTO A WHIRLWIND OF SAND. Everybody covers their eyes. The Imhotep/sand-devil EXPLODES out the window and vanishes over the compound.  [I like the explosion into a sand-devil because it was unexpected action, but also a good manifestion of Imhotep's inner rage.]

Jonathan aims his gun at the window, his hand shaking badly. O'Connell hugs Evelyn close as she wipes her mouth in disgust. Daniels walks in, looks at Henderson's shriveled body on the floor...and drops the martini glasses. SMASH!

WHAT I'VE LEARNED: Behavior with a deeper meaning (of a character's motives, wounds, conflicts) will always set an action/adventure script apart.

The Mummy (1999)(3rd draft, 11/21/97)
by Stephen Sommers

TODAY'S NUGGET: Rueben Rueben (1983) - Foreshadowing the Woman Who Will Make Him Earn Her Respect

[Quick Summary: Womanizing, drunk Scottish poet, who hasn't written in years, is spun around when he meets an unimpressed young woman.]

Of all the many, many scripts he had written,* Julius Epstein said that THIS SCRIPT was the one he was most proud of (though not heard of much).**

Gowan McGland is a droll, clever poet, who is doing the lecture circuit in upstate New York.  He is also doing every female in sight and drinking himself blind.

His central problem is put best by his friendly, estranged wife Edith: "The trouble with you, Gowan, is that you've always wanted unearned fruits." 

Soon, Gowan will be meeting beautiful college student Geneva, who does not play Gowan's games.  He will have to earn her respect.

I thought it was interesting how the writer decided to foreshadow this high level of doggedness by showing it first in Geneva's mom (scene below).

NOTES:
- Mare and husband George are chicken farmers. Their daughter is Geneva.
- Mr. and Mrs. Springer are "commuters" to NY. Their son is Tad.
- The Springers didn't want Tad to date chicken farmers' daughter, and sent him away to college.
- Mare was more upset than everyone. Now she takes it out on all commuters.
- There are eggs on the shelf behind Mare.

EXT. FARMHOUSE - DAY

...Mare and George make an appearance. George stays in the b.g. With Mare, what else can he do? Mare fastens a deadpan glance at Mrs. Beausaigneur, who adopts a nervous manner of false bonhomie.

MRS. BEUSEIGNEUR: Good evening. Getting quite coolish, isn't it? (no answer from Mare) I'd like a few of your wonderful fryers. Last week, when you didn't have any left, my husband was so disappointed. He says no one else has such delicious ones as you have. Four, please?

MARE: We're out of fryers.

MRS. BEUSEIGNEUR: Oh. Then can I have two broilers.

MARE: We're out of broilers.

MRS. BEUSEIGNEUR: Oh, dear. (pause, then with some desperation) My husband isn't really a commuter. he gets off at Stamford. Why, we don't even take the New York Times, except on Sundays.

MARE: Occupation?

MRS. BEUSEIGNEUR: Investment adviser.

MARE: Place of residence?

MRS. BEUSEIGNEUR: Vineyard Acres, we're practically neighbors (a little apologetic laugh) Oh, I know we're making it a bit crampedish for you, but -- (nervous laugh) You see, Lester telephoned me just now to ask could he bring a friend, a classmate home for dinner. I thought, Gawd, the house is an absolute shambles, and I'm not a short order cook. But maybe if I could fricassee a few -- (puts her hand on Mare's arm. Mare pulls away) As I say, his office is in Stamford. If you ever need any advice on investments -- (an idea hits her) He's thinking of driving in on the Thruway. Not taking the train at all.

MARE: Sorry. No chickens.

MRS. BEUSEIGNEUR (desperation time): Then I'd better make an omelet. Two dozen eggs, please.

MARE: We're out of eggs.

MRS. BEUSEIGNEUR (exploding): I didn't jilt your daughter. My husband didn't jilt your daughter. Yet you make us drive clear down to town for chickens -- frozen ones at that! -- because somebody else did. If that isn't paranoid, what is!

She storms out, slamming the screen door.

WHAT I'VE LEARNED: On my first read, I thought this was an amusing side story. On a closer read, it's really a more interesting way to foreshadow.

Rueben Rueben (1983)
by Julius J. Epstein
Based on the novel by Peter DeVries, and the play by Herman Shumlin

*Including: Casablanca, Yankee Doodle Dandy, Arsenic and Old Lace, Four Daughters films, etc.  

For more insights on a fascinating career, I'd recommend his in-depth interview in Naked Screenwriting (2021).

**The script is great, but I wondered if it's almost too clever a play to translate well to film?  I am looking forward to seeing the finished film.

TODAY'S NUGGET: Life with Father (1947) - How to Show Cupid's Arrow Has Landed (Setup-Payoff)

[Quick Summary: In the 1880s, Father rules the roost (not really) with a clever wife and four red-headed boys.]

A colleague recommended this film to me, though I'd not heard of it.

Once I saw the line up of talent,* I knew I had to find the script.

Comedy is often based on reversals. The unexpected and ironic makes us laugh, especially when Cupid is involved.  So how can those arrows land with a big laugh?

FIRST: Set up the status quo.  

ex. Prior to the scene below, we see 18 y.o. Clarence told to practice his violin, which he does not like.  Also he is irritated he has to give his room up to visiting guests.

SECOND: Create conflict or a change.

ex. In the scene below, he meets one of the guests (Mary).

THIRD: Show change(s) in behavior that directly contradict previous behavior.

ex. In the scene below, he is playing violin and happy to have given up his room.

FULL SHOT  TOP OF STAIRS

Vinnie and Cora exit into the bedroom. Mary looks down the stairs to Clarence at the foot of the stairs.  Clarence with his violin starts toward the parlor.

MARY: Cora didn't tell me about you. I never met a Yale man before.

Clarence turns, almost smiling.

MARY: Oh, you play the violin.

CLARENCE: I fool with it a little.

MARY: You're just being modest.

CLARENCE: No, really --

MARY: I play the piano -- not awfully well, but --

CLARENCE: Now you're being modest.

MARY: Do you play duets?

CLARENCE: I haven't up to now.

MARY: Neither have I -- up to now.

She gives him a devastating smile, turns and hurries up stairs. At the far end of the hall John enters carrying the bags. He notices Clarence staring ecstatically up after Mary.

JOHN: What happened to you?

CLARENCE (dazedly): Nothing -- I feel fine.

Clarence lifts his violin and starts to play "Sweet Genevieve" passionately as John continues up the stairs with the bags looking back at Clarence with amazement.

WHAT I'VE LEARNED: I really liked that there's no talk of love or falling in love.  The character doesn't even know what hit him!  Yet all there in his odd behavior.

Life with Father (1947)(2/6/46 final draft)
by Donal Ogden Stewart and Robert Buckner
From the play by Howard Lindsay and Russel Crouse

*First, I'll read anything written by Donald Ogden Stewart (Philadelphia Story). Second, I'll see anything directed by Michael Curtiz (Casablanca) at least once.  Then there's one of my favorite actors William Powell (Thin Man), the talented comedy heroine Irene Dunne (Awful Truth), and a young Elizabeth Taylor.   

Also, each one of the above is an Oscar winner or nominee.

TODAY'S NUGGET: Little White Lies (unproduced) - In a Rom-Com, Pain + Truth = Funny (& Intimacy)

[Quick Summary: After Lisa meets Paul at a Fourth of July party, she refuses to see him except on holidays.]

As you may know, I generally don't post unproduced scripts...unless there's merit.

This is a really good rom-com, which is scarcer than hens' teeth.*

One of the keys to a good rom-com is nailing the intimacy between the two leads. 

But how do you create that, especially in this age of social media oversharing?

According to my gold standard reference on the rom-com, Writing the Romantic Comedy (2020, 20th Anniversary ed.) by Billy Mernit

Pain + truth = funny.

...no matter how excruciating their public exposure may have been, the experience has somehow brought them a little closer together.  

This special kind of earned intimacy is typical of romantic comedy relationships.  Both man and woman have been exposed. But instead of alienating them, being in this nightmare together puts them on equal footing and even creates a tacit bond:  they're the special ones who've shared a little hell and lived to tell about it.  (Ch. 9: The Art of Funny)

In p. 1-3 of the script (below):
- We see how the writer immediately puts the couple in a nightmarish situation, which leads to an equal footing. 
- Note also the incredible vulnerability, which required alcohol to get to the truth.

LISA: Happy Fourth of July.

PAUL: Happy Fourth of July.

LISA: I had to have four drinks before I had the courage to come out here and talk to you. [Vulnerability]

PAUL: I didn't mean to frighten you.

LISA (takes another drink; then): You look like a man of the world. [Vulnerability]

PAUL: Within reason.

LISA: The kind of man a woman can be terribly honest with.

PAUL: Am I that obvious?

LISA: The sort of man with whom a woman can share her most intimate thoughts.

PAUL: It's like you've known me all my life.

LISA: I know you're mature enough to handle what I'm about to tell you.

PAUL: I'll do my best.

LISA:  Ready?

PAUL: Ready.

LISA: Your fly's open.  [Vulnerability, especially for well brought up Lisa]

Paul looks, and indeed the zipper on his pants is down. As he pulls the zipper up with one hand, he is very cool about it.

LISA (continuing): I had to tell you. You looked so vulnerable walking around that. [Truth]

PAUL: I appreciate it. There's nothing worse at a party than not really knowing why people keep smiling at you. [Pain + Truth]

LISA: For a minute I thought you were a flasher. Then I said to myself, "That man has too much on the ball to be a flasher. If he was one, he'd be flashing all the way." [Pain + Truth]

PAUL: I appreciate your vote of confidence. [Truth + Bond is forming]

LISA: I liked you the minute I saw you. Do you know how I knew?

PAUL: How?

LISA:  You're wearing blue underwear. I could never get close to a man who wears basic white. [Pain + Truth]

PAUL: I haven't any secrets left. [Hinting at the theme of white lies]

LISA: Secrets are for children. (then) Are you married? [Echoing theme]

WHAT I'VE LEARNED: Your lead characters will only feel something if there's vulnerability, intimacy, i.e., create scenes where they share an exposing experience.

Little White Lies (unproduced)(undated; perhaps 1980s?)
by Stanley Shapiro

*It was written by veteran rom-com writer Stanley Shapiro who had an amazing run in the 1960s: Pillow Talk; Operation Petticoat; Lover Come Back; Oscar winning That Touch of Mink; Dirty Rotten Scoundrels.

TODAY'S NUGGET: Copycat (1995) - Invisible (Yet Clear) Transitions During Rising Conflict

[Quick Summary: An agoraphobic psychologist must overcome fear to work with a homicide detective hunting a copycat serial killer.] 

I am always interested in reading scripts by Frank Pierson (Dog Day Afternoon, Cool Hand Luke) or Jay Presson Allen (Prince of the City, Cabaret).*

So I was surprised to stumble across this script with them both listed.**

Both of them have put in a lot of hours in the salt mines, which I think it shows best in how they craft the transitions.  

One way I like to judge transitions is whether the script can direct the mind's eye crisply from shot to shot, or into and out of a scene (good flow), without confusion.

I give extra bonus points for the fewest amount of words (economy).

Here is a great example below.  Notice the clarity of rising conflict and flow (people on shore --> body in water --> boats --> doc --> cop). 

EXT. BAYSIDE RESTAURANT - BELVEDERE OR SAUSALITO - DAY

A BRIGHT LOVELY DAY, PEOPLE DINING AND DRINKING IN THE SUN, on a deck that faces the Bay and San Francisco's towers beyond. Young people, drinks in hand, dressed to go to a summer wedding, mingle and laugh and chatter. A young woman stands leaning back against the wooden rail, her back to the Bay. A young man faces her, talking, laughing. HE LEANS CLOSE TO WHISPER IN HER EAR AND SHE LEANS BACK, DRAWING HIM CLOSER TO HER - SEXY! AS HE WHISPERS HE CAN SEE OVER HER SHOULDER INTO THE WATER BELOW.

REVERSE, CLOSE: YOUNG MAN - His face registering horror at what he sees: he shops speaking, and the GIRL turns to look down to see what it is he's looking at, and begins to SCREAM...

THEIR P.O.V.

Below, floating in the water is ANDY, wearing his bright jacket, except it's not all of Andy. HIS HEAD IS MISSING.

                                                                                            CUT TO:

REVERSE: (TIME HAS PASSED). FROM WHAT WOULD BE ANDY'S P.O.V. - FACES LOOKING DOWN   M.J., QUINN, SAKS AND CORONER'S MEN...

THEIR P.O.V.     NOW RUBBER BOATS HAVE BEEN TIED IN A RING AROUND THE BODY. DOC IS DOING HIS WORK, PREPARATORY TO LIFTING THE BODY OUT OF THE WATER...

HE PULLS A WALLET OUT OF THE POCKET AND HOLDS IT UP TO THE PEOPLE ABOVE.

M.J. TAKES IT. BEGINS TO LOOK THROUGH IT...    SHE IS NUMB WITH EXHAUSTION AND SORROW.

                                                                                         CUT TO:

WHAT I'VE LEARNED: I was really impressed that I didn't notice the transitions at all.  Somehow it was one less barrier to experiencing the characters' P.O.V.

Copycat (1995)(3rd draft, dated 7/4/94)
by Frank Pierson and Ann Biderman and Jay Presson Allen

* For further reading, these are excellent interviews: Pierson, Allen.

**They're not formally credited, so I presume this was a re-write job.

TODAY'S NUGGET: The French Dispatch (2021) - Contrast of food (comfort) + Emergency (anxiety) = Funny

[Quick Summary: Anthology of 3 stories from the French outpost of a fictional magazine (artist in prison, student revolt, kidnapped son of police commissaire).]

In this film, Bill Murray plays the recently deceased editor-in-chief of The French Dispatch.  His writers have gathered to write his obituary. 

However, most of the film is about three write ups for the magazine. 

I particularly thought the kidnapping one was vastly creative, character driven, and pushed the heights of fun farce and ridiculousness.

Roebuck Wright is the food writer who is sent to interview a famous chef.  He oddly chooses Nescaffier, the Commissaire's chef, who is adept at food-on-the-run.

A crime syndicate kidnaps the Commissaire's son in exchange for an imprisoned accountant.  But hurrah! A hint and the Commissaire roars into action!

I really liked the split screen of the Commissaire eating while working on site.  The contrast of food (comfort) + emergency (anxiety) = funny.  

Here is a partial sample:

MONTAGE:

Split-screen: on the right, the Commissaire, seated at the workbench table in the locksmith shop, speaks excitedly to the Chou-fleur while eating continuously with his left hand only; on the left, a small, speckled, boiled egg split open to reveal layers of whipped yolk  mousse.

    ROEBUCK WRIGHT (V.O.)                        COMMISSAIRE
To start: deviled eggs of the                   Send a commando unit to secure
precinct, canary served in                      all access points to the south
shells of its own meringue.                    and west.

On the right, the Commissaire, seated at the workbench table in the locksmith shop, speaks excitedly to Maman while eating continuously with his left hand only; on the left: a saucer of gibiers and fruits des bois.

    ROEBUCK WRIGHT (V.O.)                        COMMISSAIRE
Next: kidneys poached with                  Send a guerrilla detachment to
plums from the mayor's rooftop           block all egress routes to the
arbor.                                                          east and north.

On the right, the Commissaire illustrates (using arrows and X's) his scheme/strategy on one of the building floor plan maps; on the left, small boulettes shaped and packaged like a bowl of candies.

     ROEBUCK WRIGHT (V.O.)                        COMMISSAIRE
Then: minced lamb bon-bons in         Drill tunnels (circumference:
pastry wrappers.                                     75 mm) through the partition
                                                                    walls of all three adjacent
                                                                    buildings.

On the right, teenage boys and girls in shooting costumes perch among high chimney tops; on the left. another thermos.

     ROEBUCK WRIGHT (V.O.)                        COMMISSAIRE
Blase oyster soup.                                 On the rooftops: amateur
                                                                  snipers from the local hunting
                                                                  club.

WHAT I'VE LEARNED: Don't be afraid to go split screen and show contrast for an existential laugh. 

ex. Roebuck Wright is reporting on the food in rapturous detail (extravagant lifestyle channel) while the Commissaire plots a rescue (true crime channel).

The French Dispatch (2021)
by Wes Anderson
Story by West Anderson & Roman Coppola & Hugo Guinness & Jason Schwartzman

TODAY'S NUGGET: A Medal for Benny (1945) - Why Does This Slapstick Girl Fight Land Well? Unpredictability, Good Setup-Payoff

[Quick Summary: Benny's unsuspecting dad and girlfriend face chaos when the town wants to popularize his unexpected Medal of Honor ceremony.] 

TWO THOUGHTS:

1) SOMETIMES THREE COMEDY WRITERS ARE BETTER THAN ONE.

If you can believe IMDB, silent film comedy gag writer Jack Wagner got this idea during WWII but couldn't interest anyone. 

So he enlisted his friend John Steinbeck to write the script and gin up interest.*

The script was also shaped by writer Frank Butler, also no comedy slouch.**

2) WHY DOES THIS SLAPSTICK GIRL FIGHT LAND WELL?

I would strongly recommend this script to comedy writers who are looking for slapstick comedy that comes out of character.

I think it was because Wagner and Butler were silent film writers that they naturally went the extra mile to find inventive ways to SHOW and not rely on dialogue.***

For example, I really liked clever use of payback (from a good setup-payoff) and unpredictability in the scene below.

Note:
- Lolita is loyal to Benny, though he hasn't written in 9 months.
- Joe pines for Lolita, Benny's girlfriend.  He buys her a new dress for a dance.
- Lolita rejects the dress, but she is secretly attracted to Joe.
- Joe goes to a bar to sulk and meets Toodles, who says SHE is engaged to Benny.
- Joe gives Toodles the new dress and takes her to the party. (setup)
- Lolita sees Joe with Toodles, who wears HER dress. (setup)
- This is an inventive way for Joe to get his payback (payoff), as you'll see below.

What happens now happens fast: Toodles, boiling now, rushes Lolita back against the table, grabs up a beer bottle, and swings it savagely at Lolita's head. Lolita ducks, Toodles makes another wing at her, but Joe, stepping in, wrenches the bottle from her hand, turns and tosses it over the veranda rail. Simultaneously, and with a berserk yelp of fury, Toodles snatches up a large earthen-ware pot of chili-and-beans, raises it high and inverts in neatly over Joe's head, jams it well down over his ears, then straight arms him clear over the rail of the veranda. --But even as Joe's heels vanish, Lolita pins a terrific haymaker on Toodles' jaw and knocks her spinning through one of the doors into the pavilion - glass, frame and all. [I did not expect the beer bottle or haymaker!]

Six feet below the veranda rail, the pot wedged firmly over his head, Joe rises into a sitting position. The faces of Lolita, Charlie, and the others, appear over the rail staring down. They get one look at the "potted" Joe and burst into a roar of laughter. [Payoff is the reaction shot.]

Joe tries to get the pot off, but fails. Panic seizes him. He gets up, lunges forward --smack into one of the veranda pillars. The impact shatters the jar, and bangs him down again into a sitting position --his head and face a solid, indistinguishable mass of chili and beans. --There is another roar of laughter from the veranda. But Lolita is running down the steps toward the hapless Joe. [More payoff with the jar shattering, face full of chili.]

WHAT I'VE LEARNED: I thought this girl fight was constructed well: Good setup. Good payoff. Good character motivation (both mad at each other and Joe). Unexpected use of props.

A Medal for Benny (1945)
by Frank Butler
Additional dialogue by Jack Wagner
Adapted from a story by Jack Wagner & John Steinbeck

* It worked. Plus an Oscar nomination for them both.

** Butler wrote comedies for Bing Cosby and Bob Hope (Road to Moracco). He won an Oscar for Going My Way.

*** Read the script for a funny scene with farm animals let loose in a bank.

TODAY'S NUGGET: Over Twenty-One (1945) - Why Is This "Woman Joins Her Man" Script Still Relevant? (Partnership)

[Quick Summary: When her 39 yr. old newspaper editor husband quits his job to join the army, his wife  finishes her Hollywood screenwriting job and  joins him.]  

Recently, I read an interview with screenwriter Garson Kanin, a three time Oscar nominee with his wife Ruth Gordon* (A Double Life, Adam's Rib, Pat & Mike).**

Given those two writers' long partnership, and that they liked to write about partnerships, it still was a surprise to see a great partnership on the page.

And that is why I think this kind of script is still interesting and relevant.  How does the couple cope with self-doubt? Conflict? Obstacles?

I think it helped that the couple was three dimensional and set up for success:
- They are both writers (she's an author & screenwriter; he's newspaper writer).
- They have similar values (believe in making a difference).
- They have goals, though different.  He joins the army so that he can speak to real policy issues later.  She keeps the home afloat until her next job.

Also, there were also many examples of what one relationship expert termed "fondness and admiration," i.e., appreciating and cherishing the other person:

Ex. 1: Max is asked to write for army newspaper, but has been vacillating in doubt.

Polly comes to the sofa. But before she can reach it, Max swings his feet off again, almost hitting her. 

MAX: But that's up to me, isn't it? Whether I get dragged into a controversy or not - is up to me! Suppose I write it - and forget it - absolutely  forget it! 

POLLY: If you can, darling, that's --

MAX (jumping up): Sure I can! Why can't I?

POLLY: Max - I'm on your side!

MAX: Where's the typewriter, darlin?

POLLY (flying for the typewriter): Hurray! We've decided! [Note that she says "we."]

Ex. 2: Polly has been secretly on an editorial deadline for Gow, Max's ex-boss.

In the next frantic second, she glares down at her work, shoves a few papers together - then runs for Max.  Then Polly and Max are seen together as she comes rushing into his arms.

POLLY: Darling! What a surprise! How long can you stay?

MAX: Just long enough to press my pants. (Indicating the table) What are you doing?

POLLY (nervously) Oh. Well, Joel Nixon finally caught up with me. I mean - the script. I've got to make some changes. He's been phoning from Hollywood like a maniac.

MAX (leaving her; taking a few steps toward the table): My gosh - you've really been working! Look at the place.

POLLY (getting around in front of him): Well, I'm doing it against time, Max. The picture's shooting now. Your pants, sweetheart. Take 'em off. I-I'll get the board ready (She pushes him in the direction of the bedroom.)

MAX: You don't look as if you've slept. 

POLLY: Yes, I have - as much as I need. Go on. Go on.

MAX: Gee, honey - that's too bad. [This is a writer empathizing with another writer.]

WHAT I'VE LEARNED: I rooted for Polly and Max, in great part because I believed in their partnership

Over Twenty One (1945)
by Sidney Buchman
Adapted from the play by Ruth Gordon

*Yes, that Ruth Gordon, of Harold and Maude (1971) and Rosemary's Baby (1968) fame.  However, my first encounter with her work was as a murderous mystery writer on a Columbo tv show episode.

**Interestingly, they STOPPED writing together afterwards because it didn't work for them any longer!

TODAY'S NUGGET: Thirty Seconds Over Tokyo (1944) - A New Twist on "The Plane Won't Start" (Humor in Situation)

[Quick Summary: Leaving behind a new, pregnant wife, an army lieutenant and his crew rendezvous with the navy for a top secret mission. Based on a true story. ]

I was all prepared not to like this script about WWII. I'm simply bored by the over saturated political and "message" films.

However, this one managed to paint an interesting picture about cooperation - between Army and Navy, and between soldiers and allies in China.

Also, I really liked how the writer created a three-dimensional world.

One way was through the humor in character (ex. army soldier fleeced both army and navy colleagues alike) and humor in situation (scene below).

I particularly liked how the scene below rose in tension AND was humorous:
- Timing is crucial on this mission in the dark of morning. 
- Since there are so many planes that must be deployed (and cannot be turned around), any non-starting aircraft would be shoved into the ocean.
- This is such an unexpected twist that increased the tension!

Red reaches forward, turns the switch, and the starter gets into action. Then we see the left motor. It gives a chug, turns over and stops. Then two more chugs. It stops again. The Navy crew in the background look serious, and move forward, prepared for the emergency of pushing the plane overboard if she doesn't function. The motor gives another helpless snort, and chokes out.

This cuts to the PILOT'S COMPARTMENT as Ted and Davenport exchange frantic looks. They work the starting button once more. There is another helpless little snort from the engine.

DAVENPORT: Those navy guys are moving up to push us over!

TED (viciously): They're not gonna toss this ship overboard! C'me on, baby -give-give...give...!

Another try at the starter, and this time there are four chugs. --This cuts to the LEFT MOTOR as she takes hold weakly, gives a dozen snorts, and suddenly grabs on; and to the NAVY CREW as they move back from the plane with looks of relief.

WHAT I'VE LEARNED: I really liked how relatable this script was: A guy wants to go home as soon as he can, but can't start his plane. Not philsophizing or preachy.

Thirty Seconds Over Tokyo (1944)
by Dalton Trumbo
Based on the book and Collier's story by Capt. Ted W. Lawson and Robert Considine

TODAY'S NUGGET: Story of G.I. Joe (1945) - Feeling as if You Belong (Showing Camaraderie Without Words)

[Quick Summary: Near the end of WWII, Pulitzer Prize winning journalist Ernie Pyle follows troops, in the good and bad, as they liberate Italy.]

Journalist Ernie Pyle wrote in a way that brought his readers close to the troops.  I was surprised at how this script did the same thing for me.

I'm glad that the writers did not focus on politics or the problems of an on-going war.*  Instead, they focused on what these soldiers really fought for - each other.  

All throughout the script, there is this feeling as if you belong, i.e., camaraderie.  It shows up particularly in very small moments.

In the scene below:
- Notice how Murphy's death is handled tactfully, quietly.
- Mew, who has no family, had to fill out his insurance forms earlier.
- Notice how the scene speaks without words of taking care of each other.

Ernie looks at the corner where Murphy always sat. Then at Red's picture. Then at Mew, who slowly takes out his tattered insurance paper and a pencil, and starts to rub something out, following which we see the INSURANCE PAPER: Crossing out Murph's name, Mew changes the sum opposite Mrs. Murphy's name to $4000. The list now reads: Warnicki $2000; Junior $2000; Mrs. Murphy $4000.

WHAT I'VE LEARNED: I thought the Pyle character would be a throw away, but he was part of that camaraderie  He showed that it mattered to tell these soldiers' stories.

Story of G.I. Joe (1945)
by Leopold Atlas, Guy Endore, Phillip Stevenson

*When this film was made in 1944, WWII had not ended yet and Italy was still being liberated.