The story-telling event that made me want to become a writer was the premier of the classic TV show, Route 66. I was 17, doing so-so in high school, lacking plans and ambition, going nowhere. But all that changed at 8:30 p.m. on the first Friday of October in 1960 when a drama about motion gave me a destination. The series was about two young men (brilliantly portrayed by Martin Milner and George Maharis, the latter eventually replaced by Glenn Corbett) who drove a Corvette convertible across the United States in search of America and themselves. Providing a time capsule of 1960-64, every episode was filmed entirely on location–from Poland Springs, Maine, to Huntington Beach, California; from Seattle to St Louis to Tampa and a hundred communities between. Two-thirds of the episodes were written by Stirling Silliphant, who eventually received an Oscar for In the Heat of the Night and whose scripts for ROUTE 66 were an intriguing blend of intense action and philosophic/poetic speeches that sometimes lasted five minutes, with a flavor of Tennessee Williams combined with William Inge and Arthur Miller. As a bonus, the great arranger-composer Nelson Riddle contributed a new musical score every week, often with a jazz flavor. The series so knocked me over that I wrote to Silliphant, explaining my sudden ambition to follow his path. The long letter he sent in return gave me all the advice any writer needs. "Write, write, keep writing, and then write more." That letter is framed next to my desk. Eventually, Silliphant and I became friends and colleagues. In 1989, I was thrilled to see him listed as the executive producer of my NBC miniseries, Brotherhood of the Rose. Twenty-nine years after Route 66 debuted, a circle was completed, even as the road continued. -- David Morrell, New York Times bestselling author of FIRST BLOOD and CREEPERS

Film version of the Neil Simon play has three separate acts set in the same hotel suite in New York's Plaza Hotel with Walter Matthau in a triple role. In the first, Karen Nash tries to get her inattentive husband Sam's attention to spruce up their failing marriage. In the second, brash film producer Jesse Kiplinger tries to get his former one-time flame Muriel to see him for what he stands for. In the third, Roy Hubley and his wife Norma try and try to get their uncertain-of-herself daughter out of the bathroom before her approaching wedding.

年轻作家拉瑞因为发现女朋友跟别的男人睡觉而感到郁郁不乐，而好友华伦则是一个忧郁症患者。两个寂寞的伤心人于是一齐去参加了一个纽约的“寂寞男子汉俱乐部”。后来，拉瑞执笔写了一本书，把“寂寞”变成一种“爱情药方”，他的整个生命顿时为之改观。阿瑟·希勒执导的喜剧一向表现中规中矩，本片主要是看史蒂夫·马丁的个人秀表演，搭档演出的查尔斯·格罗丁则因太低调而擦撞不出惹笑的火花。

劳伦和桑迪都生长在纽约，这两个年轻女演员的出身和性格似乎都处于不可调和的两个极端：优雅迷人的劳伦一心盼望着能扮演哈姆雷特，而粗俗矮胖的桑迪则对哈姆雷特一无所知。她们在同一个班学习表演时都倾心于英俊的教师迈克尔·桑切斯。但有一天，桑切斯却突然失踪了。劳伦和桑迪这对冤家一起去找他，但在寻找的过程中两人都发现了对方身上的优点，遂结为了好友。她们看见桑切斯进了一家花店，随后花店发生了爆炸。警察说桑切斯被炸死了，但她们又看到了桑切斯，还跟踪他到了湖边的小屋里。中央情报局的特工告诉了她们一个惊人的消息：原来桑切斯是苏联的克格勃，他逼迫美国政府用重金赎回他偷走的装有化学毒品的瓶子。桑切斯在她们准备帮助政府将瓶子偷回时将劳伦拐走，劳伦趁其不备时逃了出来，在追逐的过程中，桑切斯失足摔死。风波过去后，劳伦和桑迪回到了纽约。劳伦的心愿终于得到了满足，她扮演了梦寐以求的哈姆雷特，而桑迪扮演的则是哈姆雷特的情人奥菲莉娅。