Sahara (2005) Writers: Clive Cussler (novel) Thomas Dean Donnelly, Joshua Oppenheimer, John C. Richards, and James V. Hart (screenplay) https://www.youtube.com/watch?v=Wym9K35SVEk SANDECKER (O.S.): Better not hurt my boat! GIORDINO: Engine two is out! Ward them off, man, what do you wanna do? PITT: Uh...I think we need to pull a Panama! GIORDINO: Panama? A Panama? SANDECKER: Panama? GIORDINO: You think? Really? PITT: Yeah! Really! SANDECKER: Somebody pick up---They're ignoring...They're ignoring me! Everybody is ignoring me. Pick up the phone! GIORDINO: Take it! We're doing the Pnama! GUNN: What's a Panama? GIORDINO: Navy thing. GUNN: I didn't know you were in Panama. GIORDINO: Weren't. We were in Nicaragua. GUNN: Then why do you call it a Panama? GIORDINO: We thought we were in Panama! SANDECKER (O.S.): No Panama! GUNN: What are you looking for? (Boat is straffed by machine gun fire.) GUNN: Al? Al? Al, I'm really confused! PITT: How are we doing, Al? GUNN: Go help Dirk! GUNN: How I use this? GUNN: Just go! PITT: Open the engine hatch. GUNN: Okay! PITT: Let's go, Al! GIORDINO: Got it! (To Gunn) Here, light this! GUNN: Aren't these the admiral's? GUNN: Just light it! (More boat chase action. Giordino cuts one of the fuel lines.) PITT: Whenever you're ready, Al! GIORDINO: Come on! GUNN: What are we doing? (Giordino places the lit cigar in the leaking gasoline stream.) GUNN: I don't think we should be doing that! GIORDINO: Okay! Drop it! (To Pitt) We're good! PITT: Yeah! All right, hold on! GIORDINO: Hold on! GUNN: Okay! (Pitt swings the boat around heading straight at their pursuers. Giordino jumps ship.) GUNN: Hey, I need a life jacket! (Pitt tackles Gunn and both jump overboard. The empty boat passes between the two pursuers and explodes.) SANDECKER: Crap. He did a Panama. He did a Panama. GUNN: Cool! Is that how it worked the first time? PITT: Well, didn't really work the first time? Dialog on Dialog: The beauty of this dialog is in the ending. The scene builds to a frantic pace full of tension, the good guys escape, then the final line gives the audience a chance to release all that tension through a good laugh.

The Great Race (1695) Writers: Blake Edwards & Arthur A. Ross (original story) Arthur A. Ross (screenplay) https://www.youtube.com/watch?v=eWbzrBXxm78 SET-UP: Approaching the end of a round-the-world auto race (and the end of the film), Professor Fate and The Great Leslie near the finish line: The Eiffel Tower. Set in the early part of the 20th century, Fate believes (sexist that he is, among other things) that a woman being a participant in the race will give him the edge and slow or deter his arch rival, Leslie. FATE: We're going to win, Max, we're going to win! MAX: I think you turn right at the next corner. (The Hannibal Twin-8 turns down a side street.) LESLIE: You're not talking about equal rights. DUBOIS: I know what I'm talking about. LESLIE: You're talking about some convenient feminine Utopia that has all the advantages and none of the responsibilities. DUBOIS: Responsibilities? LESLIE: Yes. DUBOIS: Look who's talking about responsibilities. Turn right. (Leslie continues straight ahead.) DUBOIS: Go back and turn right. LESLIE: We do not turn right. DUBOIS: I know Paris. Leslie: So do I. DUBOIS: Well, you have to turn right in order to get to the Eiffel Tower. LESLIE: If we turned right back there we'd end up on the Montmartre steps. (Meanwhile, Professor Fate and Max nearly shake themselves to death driving down the stairway.) Dialog on Dialog: In this sequence, Blake Edwards continues to turn Fate's assumptions and beliefs against him. But this dialog also builds toward the final moments of the film. There has been a great deal of sexual tension between The Great Leslie and Maggie Dubois, and at this important moment it's all coming to the surface. Yet, as has been true throughout the entire film, the Great Leslie is the ultimate Good Guy who continues to be correct, even under duress.

It's a Mad, Mad, Mad, Mad World (1963) Writers: William Rose & Tania Rose (story) https://www.youtube.com/watch?v=Rvbg_ezlEks SET-UP: In a cross-country race while trying to find a buried mob fortune, Otto Meyer has lost his car. Desperate to get to the treasure first, he gets a ride from a passing motorist, but the police, who've been monitoring the group, begin tailing Meyer with a helicopter. (A helicopter lowers into the scene behind to men driving in a convertible.) MEYER: Look out! NERVOUS MOTORIST: What? MEYER: They've spotted us. NERVOUS MOTORIST: Who have? MEYER: Don't stop driving, man, keep going. NERVOUS MOTORIST: What is this? MEYER: Helicopter. They've seen us. NERVOUS MOTORIST: What helicopter? (Turns around and see the chopper.) That's a police helicopter. MEYER: Yeah, that's what it looks like. They always use them. NERVOUS MOTORIST: Who always uses... MEYER: Who do you think? Now, look, I don't want to talk about this, but I gotta. They got me hemmed in. NERVOUS MOTORIST: Who? Who has? MEYER: Will you shut up and listen? All right, I'm going to break a rule, a rule that says we must never reveal our true identity. but this is a matter of life or death, this is a desperate situation. NERVOUS MOTORIST: What is? MEYER: Will you shut up and listen? Now look, I haven't got much time, so if you love your country, if you're a patriot, you'll listen, and listen hard. You gotta get to a phone and make a call. NERVOUS MOTORIST: I got to get ot a phone? MEYER: Yes, you got to call Intelligence. Central Intelligence Agency in Washington, D.C. NERVOUS MOTORIST: What on earth-- MEYER: Now, listen! You tell 'em you heard from X-27. You got it? X-27. X-27 told you to tell them they've made three attempts on my life today, already. They had me down a silver mine. They tried to drown me. Can you handle a gun? Now, look-- Oh! Good, there's a cafe. Pull right in there. You'll use that phone. NERVOUS MOTORIST: I don't think l want to get involved-- MEYER: Will you shut up! You're in no danger. They've never seen ya. Now, pull in. (The car pulls off the highway.) MEYER: All right, good. Now, look, get to a phone. Tell the operator "emergency priority," and then ask for the CIA. All right, jump out. Come on, come on. You're in no danger. They don't know you. You're all right. Now look I'll duck the car and come back for you. For God's sakes, man, don't stand in the street. They'll see you. They'll spot you! Move it. Go! Hi-yeah! Go! (The Nervous Motorist runs to find a phone while Meyer drives off.) Dialog on Dialog: Two of Hollywood's best character actors doing what they do best: Phil Silvers as the fast-talking con man and Don Knotts as the overly-anxious rube.

About that date on The Great Race—it should read 1965. I don't think they were making movies during the Enlightenment. :)

Movie - The Warriors Youtube - http://youtu.be/MlXgU8y9Aeg Ajax: Where are they? Swan: [caught outside the subway by the Baseball Furies] Maybe we better take off... Ajax: Yeah, right... [they run] Ajax: Did we lose these fucking clowns or what? Swan: Look. Snow: Holy shit... Swan: Snow, with me. Cowboy: [winded, running from the Baseball Furies] I can't make it. Ajax: Are you sure? Cowboy: Yes, I'm sure... Ajax: Well, good! I'm sick of runnin' from these wimps! [facing the leader of the Furies] I’ll shove that bat up your ass and turn you into a popsicle. Come on… [The Warriors defeat the Furies] Ajax: Shit, I figured they were wimps. Comment: Chase scene that turns into a great action sequence with over the top threats. The great soundtrack ratchets up the intensity. Classic 70s movie.

A great one would be “Raiders of the Lost Ark” where Indy decides to go after the truck with the ark, and Sallah asks, “How?” “I don’t know,” Indy says, “I’m making this up as I go.” Not only does it show Indy’s intelligence, but it also it shows his instinct and inventiveness, including that of Harrison Ford, who changes the line “Where is it?” to “Truck? What truck?” YouTube: https://www.youtube.com/watch?v=FVdRfnLPypE “Raiders of the Lost Ark” dialogue/directions — http://www.imsdb.com/scripts/Indiana-Jones-and-the-Raiders-of-the-Lost-Ark.html Gobler nods and runs off. Shliemann heads back toward camp. Belloq hesitates a long moment, studying the burning wreckage with an odd, suspicious look. Finally, he turns and leaves, passing a nearby stack of barrels. When he has passed, Sallah appears from among the barrels. He searches the crowd for his people and starts a broken field run along some tents to avoid a group of Germans and is running flat-out when someone sticks out a leg and sends him flipping. Sallah, dust all over his face, looks angrily toward the concealed culprit. At once, a flashing white grin splits his darkened face. Indy and Marion, splotched with soot and oil, are hiding in the flap of a tent. Sallah runs into their arms and the three embrace warmly. When they break – SALLAH Holy smoke, my friends! I am so pleased you are not dead. MARION Us too. SALLAH (suddenly remembering) The Ark! They’re taking it on a truck to Cairo. INDY Where is it? Sallah gestures to follow and all three run off stealthily through the mostly deserted camp. EXT. AMONG THE TENTS – DAY Sallah, Indy and Marion run into a hiding spot behind some water barrels near the Command Tent. They peek out at this activity – In the big space near the Command Tent is parked an open German staff car; inside is a Blond Driver and an Armed Guard. Directly behind it is a canvas-topped troop truck. At this moment, Belloq and Shliemann are supervising the careful placement of the crated Ark in the back of the truck. When it is securely placed inside, we hear an ominous marching sound and Nine Armed Nazis appear at a trot from between some tents and climb into the back of the truck with the Ark. Behind the water barrels, Sallah and Marion exchange hapless looks, But Indy just concentrates on – The scene by the truck: Belloq and Shliemann are about to climb into the front staff car when they pause to check out the final component of the convoy. Rolling into place behind the truck is another open staff car. But this one is special – mounted in the back is a big, black machine gun, manned by a Gunner. At the wheel of the car is Gobler and next to him sits Belzig. Sallah and Marion look at Indy. Belloq and Shliemann climb in the back seat of the front car and the caravan pulls out. Indy watches it go, thinking hard. INDY You two get back to Cairo quick and get us transportation to England – a plane, a ship, anything. MARION What about you? INDY I’m going to get that truck. I’ll meet you at Omar’s. Be ready for me. Sallah nods. Marion looks at him like he’s nuts. Indy jumps up, looks around desperately. MARION How are you going to get that truck? INDY (still searching) I don’t know. I’m making this up as I go. He runs away between two tents. EXT. AT THE EDGE OF THE DIGS – DAY From among the tents, Indy suddenly bursts into view, happily astride a magnificent white Arabian stallion. He gallops off across the desert.