BLACK FRIDAY SALE!

It's that time of year in America - where we storm the stores and assault our neighbors to get that last flat screen at $100 off! Do you need one of the cool Story In Action books? I try to keep these books inexpensive (currently all are ebooks) so that broke writers can afford them, and try to cover every subject that you might be having trouble with... but from Thanksgiving until midnight on "Cyber Monday" most of the books will be on sale. I think Amazon even has a "gift button" so that you can buy them for friends and they have to digitally unwrap them. So if you have a little spare change right now, you can probably afford a book or two! Check them out!

THE DEALS:

The Story In Action Books: TERMINATOR, MISSION IMPOSSIBLE, BOURNE IDENTITY - 99 cents.

HITCHCOCK: EXPERIMENTS IN TERROR and HITCHCOCK: MASTERING SUSPENSE are on coutdown deals starting SATURDAY at 8am: 99cents, then price goes up $1 a day! Bu7 them SATURDAY! (sale ends Tuesday)

Vintage Screenwriting #1 - FREE! until December 2nd!

The Mitch Robertson novel FAMILY'S JEWEL & novelette THROUGH THE RINGER - FREE until Dec 2nd!

The Crime Time Thrillers: FINE UPSTANDING, SHOTGUN APPROACH, PRIME RATE, FOLLOWED HOME - FREE until Dec 2nd!







Could you do me a favor and either write a review on Amazon on any of my books you have not yet reviewed or post about one of the books on Twitter or Facebook or Instagram or Bluesky or some other social media? When I post a picture of one of my books next to some other book on FB, the other books all have hundreds of reviews... and mine often have fewer than fifty! As Popeye would say: It’s embarrrasking! And someone said the other day that books with more than fifty (and then more than 100 reviews) get bumped onto the You May Like section on Amazon, which helps keep the book in front of people.

Some writers do big campaigns to get reviews - I don't do that. This blog entry, which hasn't run in a couple of years, is my only campaign.

The best kind of reviews are ones where you mention something specific you found helpful. My thing is tools not rules, and I try to include as many tools as possible in the books. I've received a bunch of emails about the "Barista attitude" technique from the DIALOGUE Blue Book, so I know people found that helpful. But how many mention it in a review? Things you found helpful will help others who may need that kind of help. If everyone picks one technique or one chapter that helped them, or just reinforced something they already knew or suspected, and mentioned it in the review, that would be cool.

A) The Blue Books sell for $4.99 and I'm trying to get each one to around 200 pages or more, was it worth the retail price? Was it a good value?

B) What was your favorite part or tool from the book? Explain why.

C) What did you learn from the book? List the things and maybe explain them a little.

D) Were there tools and techniques in the book that you have never read anywhere else?

E) Were there a good variety of examples, and what examples were most helpful?

F) Was the book a pleasant read, or was it boring or dry or too academic?

G) Would you recommend this book to other Screenwriters? How about Novelists?

One of the problems is that Amazon requires a certain number of words for a review, and some people would rather just click the “like” button because they don’t know what to say. Hopefully those will give you someplace to start.

Telling people about the books on social media helps inform people that the books exist without me doing my daily sledge hammer posts about where the books are in the rankings. I appreciate when you guys help me spread the word about the books, because there is no advert budget... it's just word of mouth. I really need to expand my market (often on message boards it seems most people haven't heard of the books) and that's also where you can help. Screenwriting groups online and in real life. I have no idea what the percentage of readers who write reviews are, but the more people who read the books the more reviews I'm going to get. As I said, it's all about trying to get to 50 and then 100 reviews on each of them. My SUPPORTING Blue Book has been out since September 17, 2012 and only has 29 reviews! And it's Pea's favorite, so it must be good!

So please, write a review if you haven't already. Thank you!

THE BOOK THAT STARTED IT ALL!

*** THE SECRETS OF ACTION SCREENWRITING *** - For Kindle!

Why pay $510 for a used version of the 240 page 2000 version that used to retail for $21.95? (check it out!) when you can get the NEW EXPANDED VERSION - over 500 pages - for just $9.99? New chapters, New examples, New techniques!

"SECRETS OF ACTION SCREENWRITING is the best book on the practical nuts-and-bolts mechanics of writing a screenplay I've ever read." - Ted Elliott, co-writer of MASK OF ZORRO, SHREK, PIRATES OF THE CARIBBEAN and the sequels (with Terry Rossio). (ie; 4 of the top 20 Box Office Hits Of ALL TIME.)

Only $9.99 - and no postage!

NEW: WRITE IT: FILM IT!

WRITE IT, FILM IT! Low & No Budget Screenwriting

Making Your Own Movie?
Writing An Indie Film?
Writing A Low Budget Genre Script To Sell?
Writing A Made For TV Holiday Movie?

You will be writing for BUDGET. On a standard spec screenplay, you don’t have to think about budget, but these types of screenplays writing with budget in mind is critical!

If you are making your own movie, budget, is even more important - and you need to think about budget *before* you write your screenplay... or you will end up with a script that you can’t afford to make (or is a struggle to make). Everyone is making their own films these days, and even if you have done it before there are lots of great techniques in this book to get more money on screen - for less money! You can make a film that looks like it cost millions for pocket change.

344 pages - ONLY: $7.99!

STORY IN ACTION SERIES

ON SALE!

THE MISSION IMPOSSIBLE MOVIES

NEW: Updates On Films 7 & 8 Casting! (10 reviews)

All Six Movies analyzed! All of the mission tapes, all of the “that’s impossible!” set pieces and stunts, the cons and capers - and how these scenes work, the twists and double crosses, the tension and suspense (and how to generate it), the concept of each film as a stand alone with a different director calling the shots (broken in the sixth film), the gadgets, the masks, the stories, the co-stars and team members (one team member has been in every film), the stunts Tom Cruise actually did (and the ones he didn’t), and so much more! Over 120,000 words of fun info!

THE MISSION IMPOSSIBLE MOVIES - ON SALE !

ALL THE BOURNE FILMS! (15 reviews)

*** THE BOURNE MOVIES

All five "Bourne" movies (including "Legacy" and it's potential sequels) - what are the techniques used to keep the characters and scenes exciting and involving? Reinventing the thriller genre... or following the "formula"? Five films - each with an interesting experiment! A detailed analysis of each of the films, the way these thrillers work... as well as a complete list of box office and critical statistics for each film. This book is great for writers, directors, and just fans of the series.

ON SALE!

He'll Be Back? (15 Reviews)

*** THE TERMINATOR MOVIES *** - For Kindle!

He's back! The release of "Terminator: Genisys" (now on BluRay) is set to begin a new trilogy in the Terminator story... 31 years after the first film was released. What draws us to these films about a cybernetic organism from the future sent back in time? Why is there a new proposed trilogy every few years? This book looks at all five Terminator movies from a story standpoint - what makes them work (or not)? What are the techniques used to keep the characters and scenes exciting and involving? How about those secret story details you may not have noticed? Containing a detailed analysis of each of the five films so far, this book delves into the way these stories work... as well as a complete list of box office and critical statistics for each film. This book is great for writers, directors, and just fans of the series.

ON SALE!

HITCHCOCK SERIES

LEARN SUSPENSE FROM THE MASTER! (18 reviews)

*** HITCHCOCK: MASTERING SUSPENSE *** - For Kindle!

Alfred Hitchcock, who directed 52 movies, was known as the *Master Of Suspense*; but what exactly is suspense and how can *we* master it? How does suspense work? How can *we* create “Hitchcockian” suspense scenes in our screenplays, novels, stories and films?

This book uses seventeen of Hitchcock’s films to show the difference between suspense and surprise, how to use “focus objects” to create suspense, the 20 iconic suspense scenes and situations, how plot twists work, using secrets for suspense, how to use Dread (the cousin of suspense) in horror stories, and dozens of other amazing storytelling lessons. From classics like “Strangers On A Train” and “The Birds” and “Vertigo” and “To Catch A Thief” to older films from the British period like “The 39 Steps” and “The Man Who Knew Too Much” to his hits from the silent era like “The Lodger” (about Jack The Ripper), we’ll look at all of the techniques to create suspense!

ON SALE!

Strange Structures? (23 reviews)

*** HITCHCOCK: EXPERIMENTS IN TERROR! *** - For Kindle!

***

Contained Thrillers like "Buried"? Serial Protagonists like "Place Beyond The Pines"? Multiple Connecting Stories like "Pulp Fiction"? Same Story Multiple Times like "Run, Lola, Run"?
HITCHCOCK DID IT FIRST!

This book focuses on 18 of Hitchcock's 52 films with wild cinema and story experiments which paved the way for modern films. Almost one hundred different experiments that you may think are recent cinema or story inventions... but some date back to Hitchcock's *silent* films! We'll examine these experiments and how they work. Great for film makers, screenwriters, film fans, producers and directors.

ON SALE!

ADVICE FROM #2 SCREENWRITER!

*** VINTAGE #1: HOW TO WRITE PHOTOPLAYS *** - For Kindle!

***

Screenwriting books have been around as long as films have. This series reprints vintage screenwriting books with a new introduction and history, plus new articles which look at how these lessons from almost 100 years ago apply to today’s screenplays. Anita Loos book is filled with information which still applies. In addition to the full text of the original book, you get the full screenplay to Miss Loos' hit THE LOVE EXPERT, plus several new articles on the time period and women in Hollywood.

ON SALE!

THE BLUEBOOK SERIES

GOT IDEAS? (56 reviews)

*** YOUR IDEA MACHINE *** - For Kindle!

***

Expanded version with more ways to find great ideas! Your screenplay is going to begin with an idea. There are good ideas and bad ideas and commercial ideas and personal ideas. But where do you find ideas in the first place? This handbook explores different methods for finding or generating ideas, and combining those ideas into concepts that sell. The Idea Bank, Fifteen Places To Find Ideas, Good Ideas And Bad Ideas, Ideas From Locations And Elements, Keeping Track Of Your Ideas, Idea Theft - What Can You Do? Weird Ways To Connect Ideas, Combing Ideas To Create Concepts, High Concepts - What Are They? Creating The Killer Concept, Substitution - Lion Tamers & Hitmen, Creating Blockbuster Concepts, Magnification And The Matrix, Conflict Within Concept, Concepts With Visual Conflict, Avoiding Episodic Concepts, much more! Print version is 48 pages, Kindle version is over 178 pages!

Only $4.99 - and no postage!

OUTLINES & THE THEMATIC! (38 reviews)

OUTLINES & THE THEMATIC Blue Book.

ARE YOUR SCENES IN THE RIGHT ORDER?
AND ARE THEY THE RIGHT SCENES?

Your story is like a road trip... but where are you going? What's the best route to get there? What are the best sights to see along the way? Just as you plan a vacation instead of just jump in the car and start driving, it's a good idea to plan your story. An artist does sketches before breaking out the oils, so why shouldn't a writer do the same? This Blue Book looks at various outlining methods used by professional screenwriters like Wesley Strick, Paul Schrader, John August, and others... as well as a guest chapter on novel outlines. Plus a whole section on the Thematic Method of generating scenes and characters and other elements that will be part of your outline. The three stages of writing are: Pre-writing, Writing, and Rewriting... this book looks at that first stage and how to use it to improve your screenplays and novels.

Only $4.99!

Got Structure? (26 reviews)

*** STRUCTURING YOUR STORY *** - For Kindle!

William Goldman says the most important single element of any screenplay is structure. It’s the skeleton under the flesh and blood of your story. Without it, you have a spineless, formless, mess... a slug! How do you make sure your structure is strong enough to support your story? How do you prevent your story from becoming a slug? This Blue Book explores different types of popular structures from the basic three act structure to more obscure methods like leap-frogging. We also look at structure as a verb as well as a noun, and techniques for structuring your story for maximum emotional impact. Most of the other books just look at *structure* and ignore the art of *structuring* your story. Techniques to make your story a page turner... instead of a slug!

Only $4.99 - and no postage!

STORY PROBLEMS? (37 reviews)

*** STORY: WELL TOLD *** - For Kindle!

This book takes you step-by-step through the construction of a story... and how to tell a story well, why Story always starts with character... but ISN'T character, Breaking Your Story, Irony, Planting Information, Evolving Story, Leaving No Dramatic Stone Unturned, The Three Greek Unities, The Importance Of Stakes, The Thematic Method, and how to create personal stories with blockbuster potential. Ready to tell a story? Print version was 48 pages, Kindle version is over 85,000 words - 251 pages!

Only $4.99 - and no postage!

START STRONG! (40 Reviews)

*** HOOK 'EM IN TEN *** - For Kindle!

Your story doesn't get a second chance to make a great first impression, and this book shows you a bunch of techniques on how to do that. From the 12 Basic Ways To Begin Your Story, to the 3 Stars Of Your First Scene (at least one must be present) to World Building, Title Crawls, Backstory, Starting Late, Teasers and Pre Title Sequences, Establishing Theme & Motifs (using GODFATHER PART 2), Five Critical Elements, Setting Up The Rest Of The Story (with GODFATHER), and much more! With hundreds of examples ranging from Oscar winners to classic films like CASABLANCA to some of my produced films (because I know exactly why I wrote the scripts that way). Biggest Blue Book yet! Print version was 48 pages, Kindle version is over 100,000 words - 312 pages!

Only $4.99 - and no postage!

MOVIES ARE CHARACTERS! (42 Reviews)

*** CREATING STRONG PROTAGONISTS *** - For Kindle!

*** CREATING STRONG PROTAGONISTS *** - For Nook!

Expanded version with more ways to create interesting protagonists! A step-by-step guide to creating "take charge" protagonists. Screenplays are about characters in conflict... characters in emotional turmoil... Strong three dimensional protagonists who can find solutions to their problems in 110 pages. But how do you create characters like this? How do you turn words into flesh and blood? Character issues, Knowing Who Is The Boss, Tapping into YOUR fears, The Naked Character, Pulp Friction, Man With A Plan, Character Arcs, Avoiding Cliche People, Deep Characterization, Problem Protagonists, 12 Ways To Create Likable Protagonists (even if they are criminals), Active vs. Reactive, The Third Dimension In Character, Relationships, Ensemble Scripts, and much, much morePrint version is 48 pages, Kindle version is once again around 205 pages!

Only $4.99 - and no postage!

I WRITE PICTURES! (48 reviews)

*** VISUAL STORYTELLING *** - For Kindle! (exclusive)

Show Don't Tell - but *how* do you do that? Here are techniques to tell stories visually! Using Oscar Winning Films and Oscar Nominated Films as our primary examples: from the first Best Picture Winner "Sunrise" (1927) to the Oscar Nominated "The Artist" (which takes place in 1927) with stops along the way Pixar's "Up" and Best Original Screenplay Winner "Breaking Away" (a small indie style drama - told visually) as well as "Witness" and other Oscar Winners as examples... plus RISE OF THE PLANET OF THE APES. Print version is 48 pages, Kindle version is over 200 pages!

Only $4.99 - and no postage!

DESCRIPTION & VOICE Blue Book!

DESCRIPTION & VOICE Blue Book.

IS HALF OF YOUR STORY IN TROUBLE? (19 reviews)

Most screenplays are about a 50/50 split between dialogue and description - which means your description is just as important as your dialogue. It just gets less press because the audience never sees it, the same reason why screenwriters get less press than movie stars. But your story will never get to the audience until readers and development executives read your script... so it is a very important factor. Until the movie is made the screenplay is the movie and must be just as exciting as the movie. So how do you make your screenplay exciting to read? Description is important in a novel as well, and the “audience” does read it... how do we write riveting description?

Only $4.99

DIALOGUE TO DIE FOR! (56 Reviews)

*** DIALOGUE SECRETS *** - For Kindle!

***

Expanded version with more ways to create interesting protagonists! How to remove bad dialogue (and what *is* bad dialogue), First Hand Dialogue, Awful Exposition, Realism, 41 Professional Dialogue Techniques you can use *today*, Subtext, Subtitles, Humor, Sizzling Banter, *Anti-Dialogue*, Speeches, and more. Tools you can use to make your dialogue sizzle! Special sections that use dialogue examples from movies as diverse as "Bringing Up Baby", "Psycho", "Double Indemnity", "Notorious", the Oscar nominated "You Can Count On Me", "His Girl Friday", and many more! Print version is 48 pages, Kindle version is over 160 pages!

Only $4.99 - and no postage!

SECRETS OF SCENES! (35 Reviews)

*** SCENE SECRETS BLUE BOOK *** - For Kindle! (Exclusive)

What is a scene and how many you will need? The difference between scenes and sluglines. Put your scenes on trial for their lives! Using "Jaws" we'll look at beats within a scene. Scene DNA. Creating set pieces and high concept scenes. A famous director talks about creating memorable scenes. 12 ways to create new scenes. Creating unexpected scenes. Use dramatic tension to supercharge your scenes. Plants and payoffs in scenes. Plus transitions and buttons and the all important "flow"... and more! Over 65,000 words!
Print version was 48 pages, Kindle version is around 210 pages!

Only $4.99 - and no postage!

BEST SUPPORTING ACTORS? (29 reviews)

*** SUPPORTING CHARACTER SECRETS *** - For Kindle! (Exclusive)

Expanded version with more techniques to flesh out your Supporting Characters and make them individuals. Using the hit movie BRIDESMAIDS as well as other comedies like THE HANGOVER and TED and HIGH FIDELITY and 40 YEAR OLD VIRGIN and many other examples we look at ways to make your Supporting Characters come alive on the page. Includes Story Purpose of characters and Subplots. Print version was 48 pages, Kindle version is around 150 pages!

Only $4.99 - and no postage!

STUCK IN THE MIDDLE? (52 Reviews)

*** ACT TWO SECRETS *** - For Kindle!

Expanded version with more techniques to help you through the desert of Act Two! Subjects Include: What Is Act Two? Inside Moves, The 2 Ps: Purpose & Pacing, The 4Ds: Dilemma, Denial, Drama and Decision, Momentum, the Two Act Twos, Subplot Prisms, Deadlines, Drive, Levels Of Conflict, Escalation, When Act Two Begins and When Act Two Ends, Scene Order, Bite Sized Pieces, Common Act Two Issues, Plot Devices For Act Two, and dozens of others. Over 67,000 words (that’s well over 200 pages) of tools and techniques to get you through the desert of Act Two alive! Print version was 48 pages, Kindle version is over 208 pages!

Only $4.99 - and no postage!

All About Endings! (3 reviews)

GRAND FINALES Blue Book!

The Perfect Ending For Your Story!

The First Ten Pages Of Your Screenplay Are Critical,
But What About The Last 10 Pages?

Creating the perfect ending to your story! This 100,000 word book shows you how to end your story with a bang, rather than a whimper. Everything from Resolution Order to Act Three Tools to Happy or Sad Endings? to How The Beginning Of Your Story Has Clues To The Ending (in case you were having trouble figuring out how the story should end) to Falling Action to How To Avoid Bad Endings to Writing The Perfect Twist Ending to Setting Up Sequels & Series to Emotional Resolutions to How To Write Post Credit Sequences to Avoiding Deus Ex Machinas, to 20 Different Types Of Ends (and how to write them) and much more! Everything about endings for your screenplay or novel!

Only $4.99 - And No Postage!

All About Rewrites!

REWRITES Blue Book!

Rewriting In Waves?

When You Finish Your Screenplay Or Novel...
The Rewrites Begin!

The end is just the beginning! You’ve finished your story, but now the rewriting begins! This 405 page book shows you how to rewrite your screenplay or novel to perfection. Everything from Character Consistency to Shoeboxing to How To Give And Receive Notes to 15 Solutions If Your Script’s Too Long! and 15 Solutions If Your Script’s Too Short! to Finding The Cause Of A Story Problem to Good Notes Vs. Bad Notes to Finding Beta Readers to Avoiding Predictability to Learning To Be Objective About Your Work to Script Killer Notes and Notes From Idiots to Production Rewrites and What The Page Colors Mean? and a Complete Rewrite Checklist! The complete book on Rewriting Your Story!

Only: $4.99 - And Now Postage!

NEW!

THE LOGLINES, TREATMENTS, & PITCHING Blue Book!

DISTILLING YOUR SCREENPLAY (21 Reviews)

Loglines, Treatments, Pitching, Look Books, Pitch Decks, One Pagers, Rip-O-Matics, oh my!

Every form of “distilled story” that you are likely to encounter as a screenwriter, and take you step-by-step through the creation. We will look at the most effective ways to pitch your screenplay, and how the pitch reveals problems with your screenplay. Just about every question that you might have is answered in this book! Including how to use Look Books as a creative tool as well as a sales tool, and why some commercial pitch platforms may be a waste of money. We look at the 4 types of pitches, how a one page synopsis is a “birth to death” element of your screenplay – you may use one to sell the screenplay, and the distributor may use that same one pager on the back of the Blu-ray box! The critical elements needed in any logline. And much more!

THE LOGLINES, TREATMENTS, & PITCHING Blue Book! - Only $4.99!

Ready To Sell? (18 reviews)

*** BREAKING IN BLUE BOOK *** - For Kindle!

Should really be called the BUSINESS BLUE BOOK because it covers almost everything you will need to know for your screenwriting career: from thinking like a producer and learning to speak their language, to query letters and finding a manager or agent, to making connections (at home and in Hollywood) and networking, to the different kinds of meetings you are will have at Studios, to the difference between a producer and a studio, to landing an assignment at that meeting and what is required of you when you are working under contract, to contracts and options and lawyers and... when to run from a deal! Information you can use *now* to move your career forward! It's all here in the Biggest Blue Book yet!

Print version was 48 pages, Kindle version is over 400 pages!

$4.99 - and no postage!

These links all lead to the USA store, if you are in some other country and want to write a review for your country, go to your Amazon website.

Thank you all again.

- Bill

Any ideas or suggestions? Post them in the comments section!

Fridays With Hitchcock: Hitch 20: LAMB TO THE SLAUGHTER (s2e5)

Happy Thanksgiving!

This is a great new documentary series called HITCH 20 that I have been a "guest expert" on (season 1). The series looks at the 20 TV episodes directed by Hitchcock and here is the third episode of the second season, which looks at the importance of specifics of Hitchcock's work on screen (and on the page, or it never gets to the screen). This new season is without me. I was juggling too many things and thought I'd squeeze it in, but just didn't have the time. But I'm still be featuring it here, because it's a great show.



Now I’ll watch the episode of HITCH 20 and see what everyone else said...

This week's bonus is a behind the scenes look at the Crop Duster scene from NORTH BY NORTHWEST...





Of course, I have my own book on Hitchcock...

HITCHCOCK: EXPERIMENTS IN TERROR

Click here for more info!

HITCHCOCK DID IT FIRST!

We all know that Alfred Hitchcock was the Master Of Suspense, but did you know he was the most *experimental* filmmaker in history?

Contained Thrillers like “Buried”? Serial Protagonists like “Place Beyond The Pines”? Multiple Connecting Stories like “Pulp Fiction”? Same Story Multiple Times like “Run, Lola, Run”? This book focuses on 18 of Hitchcock’s 53 films with wild cinema and story experiments which paved the way for modern films. Almost one hundred different experiments that you may think are recent cinema or story inventions... but some date back to Hitchcock’s *silent* films! We’ll examine these experiments and how they work. Great for film makers, screenwriters, film fans, producers and directors.

Films Examined: “Rear Window”, “Psycho”, “Family Plot”, “Topaz”, “Rope”, “The Wrong Man”, “Easy Virtue”, “Lifeboat”, “Bon Voyage”, “Aventure Malgache”, “Elstree Calling”, “Dial M for Murder”, “Stage Fright”, “Champagne”, “Spellbound”, “I Confess”, and “The Trouble with Harry”, with glances at “Vertigo” and several others.

Professional screenwriter William C. Martell takes you into the world of The Master Of Suspense and shows you the daring experiments that changed cinema. Over 77,000 words.

UK Folks Click Here.

German Folks Click Here.

French Folks Click Here.

Espania Folks Click Here.

Canadian Folks Click Here.

Bill

THRILLER Thursday: Man In A Cage.

Man In A Cage.

The spider web fills the screen, it's Boris Karloff's THRILLER!

Season: 1, Episode: 18.
Airdate: January 17, 1961




Director: Gerald Mayer (the FATAL IMPULSE episode).
Writer: Maxwell Shane and Stuart Jerome, based on a novel by John Holbrook Vance.
Cast: Philip Carey, Diana Millay, Barry Gordon, Theodore Marcuse, Eduardo Ciannelli.
Music: Pete Rugolo
Cinematography: John L. Russell
Producer: Maxwell Shane.




Boris Karloff’s Introduction: “The frightened young man in the truck speeding away from death on a road in Morocco is Noel Hudson, and American. He fancies himself a soldier of fortune, running guns to a group of Arab nationalists. But now the adventure has turned to terror. Noel Hudson has goo reason to be terrified, there is some doubt that he will ever again be seen alive. Well what is the mysterious cargo that Noel is so frightened of? Sure as my name is Boris Karloff, you’ll learn the answer to that and many other mysteries in Morocco as you view THE MAN IN THE CAGE, from the novel by John Holbrook Vance. Our leading players are: Mr. Philip Carey, Miss Diana Millay, Master Barry Gordon, Mr. Theodore Marcuse, Mr. Al Ruscio, and Mr. Eduardo Ciannelli. Smuggling, murder and North African intrigue are the exciting ingredients in this Thriller.”

Synopsis: Noel Hudson (Guy Stockwell) is somewhere between Indiana Jones and Han Solo in a leather jacket and fedora, an American smuggler in Morocco. After delivering a shipment of guns, he is told at gunpoint that he’ll be taking a pair of boxes marked “soap powder” back to Tangier. He doesn’t want to take the mystery boxes, but they insist and even send one of their armed men with him. Noel is dead tired and wants to pull the old truck off the dirt road to sleep, but his armed passenger says he can sleep after they deliver the boxes. There’s a struggle in the truck cab, Noel twists the gun around and shoots his passenger by accident, dumps the body out of the truck and drives away into the night... never to be seen again. Both Noel and the truck completely vanish in the desert.



Just over 3 weeks later, successful businessman Darryl Hudson (Philip Carey) shows up in Tangier looking for his younger brother. When he checks into the hotel, a little Arab boy named Slip Slip (Barry Gordon giving the best performance in the episode while being just a little kid) helps him with the bags. Every one of the handful of extras in the hotel lobby looks obviously suspicious and listens in as Hudson checks in. There are no characters in this episode who act natural if there’s a chance to act shifty. Slip Slip tells Hudson that he helped his brother sometimes, and for a small price can show him where Noel’s apartment was.

The landlady (Danielle Aubry) tells Hudson that the apartment has been broken into a searched several times... and everything is in disarray. Hudson pokes around but can find no clues, and figures if there *were* clues they’ve been discovered and taken away by someone else. Hudson tells the landlady that he got a letter from his brother, and asks her if she can read the postmark. She can not. One thing Hudson does find is a picture of his brother and some blonde babe at the beach, which he pockets.

Back at the hotel, some Big Guy grabs Hudson at the front desk and says Mr. Upshaw wants to see him, and drags him into an alcove... where Upshaw (Theodore Marcuse) waits with his niece Ellen (Diana Millay). Upshaw was Noel’s “employer”, the fellow behind running the guns to Arab Nationalists... and he looks ethnic and speaks with some undefinable accent. But his daughter Ellen is blonde and looks and talks like she comes from Burbank. Upshaw wants to see the letter, Hudson refuses to show it to him. Upshaw says brother Noel split with his payment for the guns, and owes him a million bucks. Hudson manages to get out of there and heads to the hotel bar.



Everyone in this Tangier hotel bar seems to have come from New York City, judging by their accents. The Bartender says Noel was a regular at the bar, and some other New Yorker, a Car Salesman, says he hasn’t seen Noel for about 3 weeks. That’s when the Hot Girl from the beach photo sits down (Arlette Clark) another blonde in North Africa. What’s up with that? The Hot Girl says Noel stood her up 3 weeks ago, so she’s looking for a new boyfriend. Before Hudson can ask any more question, he gets a phone call from a Mystery Man (who actually looks like an Arab) and the Mystery Man says he has vital information about Noel, but of course can not give it to Hudson on the phone, so they must meet as Mystery Man’s apartment at 8pm tonight.

When Hudson gets there, Mystery Man has been tortured almost to death... bleeds all over Hudson’s suit... then Mystery Man jumps off his balcony to his death. When Hudson leaves the apartment, locals begin chasing him. Instead of getting an exciting chase, we cut to commercial.

After the commercial, Hudson is back in his hotel room trying to wash the blood out of his suit jacket when there’s a knock at the door. Inspector Le Boude (Eduardo Ciannelli) who questions him about Noel. Now, it seems as if the script may have built some suspense around the Inspector discovering the bloody suit jacket, but it’s fumbled so badly that no suspense is generated. The Inspector asks if Hudson talked to the dude who was tortured and Hudson says he didn’t and the Inspector tells him he’s gotta leave town in 48 hours and then leaves.

Hudson goes down to the hotel restaurant where he bumps into Upshaw’s blonde Burbankian niece Ellen, who tells him she’s supposed to use her womanly whiles to get her hands on that letter from Noel. She also spills the beans that the two cardboard boxes Noel was transporting back to Tangier for her uncle were filled her heroin. Hudson says his gun running brother would never transport heroin, that stuff kills people! But Ellen says it is true.

Slip Slip pulls Hudson away, saying he found a guy who knows where Noel is *now*. Hudson is taken to meet the guy in some office, and we recognize him as the Arab Nationalist guy who took possession of the guns and insisted that Noel take the two boxes of heroin back to Tangier as payment, Allah El Kazim (Al Ruscio) and his minon. They demand he hand over the letter from Noel, and when he refuses there is a 3 second knife and gun skirmish which ends in them searching Hudson and not finding the letter. Hudson says he mailed it to himself... so they take his passport (as ID to pick up the letter at the post office) and lock Hudson in a cage. Hey, you probably wondered when we’d get to the man in a cage part, right? Well, here it is!

Hudson gets out of the cage using a piece of rope and a branch and races to catch Allah El Kazim and his buddy before they can pick up the letter. Too late! But when Allah El Kazim and his buddy get into their product placement sedan in the post office garage, Hudson pops up from the back seat and takes their guns and the letter. He demands they give him information, and they tell him where Noel was last seen: a roadside hotel between the place where he delivered the guns and Tangier. Hudson then lets them read the letter... which has no actual information in it. Just a request for Hudson to send him enough money to fly back to the United States. So this letter from Noel that has been propelling the plot forward is actually pointless.

Hudson goes into the hotel bar, where everyone seems to be a New York City transplant and asks the Car Salesman guy if he can rent a car for tomorrow morning because he thinks he has a lead on where his brother Noel might be. Car Salesman guy says “sure” and that he’d like to go along and help.

When Hudson gets back to his hotel room, that blonde from Burbank is waiting for him for no apparent reason. He tells her he has a lead on Noel and has rented a car for tomorrow morning, she says “I have a car, let’s go now!” and they do.

At the roadside hotel, the desk clerk tells them that Noel spent a night there, sent the letter to Hudson from there, and also mailed these two boxes to his own address.

Hudson and Ellen the blonde Arab girl from Burbank drive back to Tangier, looking for the best place for someone to hijack Noel’s truck... why they never thought to do this much earlier in the story is a mystery. They find Noel’s truck at the bottom of a cliff. Noel dead behind the wheel. With zero emotions, Hudson says they need to get back to Tangier to find those two boxes of heroin!

Noel’s Landlady says, “Yeah, there were a couple of boxes mailed to Noel’s apartment, but I put them down in the basement rather than inside his apartment for no apparent reason except it would prevent all of those people searching the apartment from finding them.” Okay, she really didn’t say that... but it was something close. Hudson and the blonde Burbank babe go into the basement (do apartment building in Tangier even have basements?) and they find the boxes of heroin, and that’s when the Car Salesman shows up, because he’s the villain behind everything. The Car Salesman gets ready to kill Hudson and Burbank, when... the Inspector and a bunch of cops show up and save the day, because Slip Slip saw what was happening and called the cops. The end.

Review: Oh boy! After a few good episodes we return to the stinkers. It seems like every time they adapt a best selling novel on this show, it backfires. Here we probably had a big action packed foreign intrigue novel that got pared down for television until it’s a bunch of people acting suspicious in a hotel. Here it seesm like the novel might have been some wacky combination of THE MALTESE FALCON (that letter everyone is after, plus Marcuse playing some roadshow version of Sydney Greenstreet) and THE THIRD MAN (common man looking for killer of adventurous brother and in over his head). But the letter proves to be worthless, and our hero has *read* the letter and knows this. So the MacGuffin that moves the story forward has no value, and in the end no one really cares about it *or* the story. The main thing about a MacGuffin is that it needs to be the most important thing in the story. It’s what fuels the story. Here we have a lame MacGuffin and a lame story. Maybe in the novel the letter was more important and had a code or something, but here it’s just this false way to move the story forward. Bette Davis was after a more important letter...

The common man in a dangerous world element also doesn’t work, since the world here isn’t all that dangerous. Villains like Upshaw (Marcuse) politely leave when asked. Once they put him in that titular cage, he’s out in a minute. There is a real shortage of action for a story in this genre: even the fistfights are over in a flash. We end up with an episode filled with talking and people looking overly suspicious. The episode Mayer previously directed, FATAL IMPULSE, was a suspense episode that generated some real tension. Here he fumbles the scene with the bloody suit jacket and the Inspector... was this due to the director or was the scene just not written well on the page? Add to all of this Philip Carey is kind of an action guy, which undercuts the fish out of water element that Joseph Cotton had in THIRD MAN. You never feel that our hero is in any real danger.

The bigger issue for me was the lack of ethnic actors in the episode. It’s one thing to have only a couple of characters who looked like Arabs, but another to have so many characters obviously look and sound American and not even try an accent. Except for the stock footage, you’d think this whole episode *takes place* in New York City! This was obviously shot on the backlot, but even a movie like CASABLANCA had a cast that looked like they belonged in North Africa. Both of the women in this episode are *blonde* without a single ethnic looking woman in sight! The Bartender’s wife who we see in a couple of shots looks American. This works against the stock footage of Tangier, so that watching it you never believe it’s anywhere other than Studio City, California (which is where it was shot). Los Angeles was a cosmopolitan city back then, with plenty of actors who looked Arab... why not cast any of them?

No suspense, no clever lines, no twists, it’s just a completely bland episode.

Because we’re back to Rugolo doing the music, I wonder if this episode had been shot earlier and aired later? Maybe they made a bunch of novel adaptations, realized they didn’t work, and spread them out throughout the season so that we didn’t start the show with a bunch of stinkers?

I wish I could say next week’s episode is going to be better...

Bill

Tarantino's Top 20 Spaghetti Westerns

From years ago...

Now that Tarantino's BASTERDS has blown up the box office, it seems like a good idea to look at his favorite Spaghetti Westerns... I'm sure you'd read my article on BASTERDS in Script Magazine and have seen the movie and maybe even seen the Italian film with the same title in order to compare. So what else is there left to do but look at his favorite Italian cowboy films?

Tarantino’s Top 20 Spaghetti Westerns.




1. The Good, The Bad and The Ugly




2. For a Few Dollars more




3. Django




4. The Mercenary / A Professional Gun




5. Once Upon a Time in the West




6. A Fistful of Dollars




7. Day of Anger




8. Death Rides a Horse




9. Navajo Joe




10. The Return of Ringo




11. The Big Gundown




12. A Pistol for Ringo




13. The Dirty Outlaws




14. The Great Silence




15. The Grand Duel




16. Shoot the Living, Pray for the Dead




17. Tepepa




18. The Ugly Ones




19. Django, Prepare a Coffin




20. Machine Gun Killers

Click on the DVD box for more information on the movies. The score for THE BIG GUNDOWN is one of my favorites, and the Django films are a lot of fun. One thing about all of these films is you start to wonder if Lee Van Cleef just moved to Italy and got rich - he ends up being in so many of these movies it's crazy.

Somewhere, there is a land where men do not kill each other. Somewhere, there is a land where...

Classes On CD - Recession Sale!
Blue Books are back!
- Sweet 17 Bonus - a Joe Eszterhas book!

- Bill
IMPORTANT UPDATE:
TODAY'S SCRIPT TIP: Symbolic Dialogue (and comedy) and 40 DAYS AND 40 NIGHTS.
Yesterday's Dinner: Something at Mel's Diner.
Movies: I've seen the genius of GI JOE and will soon comment on that.