During a typically disaster-filled day, Ben Harris, an angry and frustrated bachelor mailman living in a cluttered Greenwich Village basement, learns he has been paying rent to a woman who hasn't owned his building in 6 years. No longer able to endure the injustices of society, he decides to activate the ferocious tiger within himself by abducting a helpless female and dragging her back to his lair.

After returning home from the war, Vietnam veteran Julius Vrooder resides in a veteran's hospital, where he has been vaguely diagnosed as "psychiatrically impaired." Taking the news with an air of initially lighthearted defiance, Vrooder escapes and sets up camp under a highway, where he builds a paranoia-driven booby-trapped bunker for himself. Falling in love with not-so-bright nurse Zanni, Vrooder soon plans to elope with her to a remote Canadian outpost.

Abraham, a Puerto Rican single parent with two boys, is becoming very worried about them living in their rundown neighborhood when one day he notices that escaping Cubans are lionized and given exceptional benefits. He schemes to have his sons washed ashore as Cuban immigrants to be adopted by rich Anglos.

An uptight advertising exec has his entire life in a filofax organizer which mistakenly ends up in the hands of a friendly convict who poses as him.

A teacher reconnects with an old student who is now an attorney representing a family who is suing the school for graduating their son who still cannot read or write. Amid the daily chaos of teaching in an inner city school, Alex Jurel tries to decide if he will lie at his deposition to protect the school or tell the truth and risk throwing away his career.

Refined actress Lauren Ames finally has a chance to study with the great theatre professor Stanislav Korzenowski. Sandy Brozinsky, a brash, loud actress, decides through happenstance to also study with Korzenowski. The two women end up dating the same man (who turns out to be a double agent) and follow him across the country to force him to choose between them.

Director Arthur Hiller (Love Story, Silver Streak), working from screenwriter Edward Anhalt's (Becket) adaptation, transforms actor-playwright Robert Shaw's The Man in the Glass Booth into a film the Los Angeles Times dubbed, "daring, outrageous, utterly provocative, endlessly ambiguous and strikingly effective." Millionaire Jewish entrepreneur Arthur Goldman (Maximilian Schell) benvolently rules his financial empire from a penthouse apartment overlooking Manhattan. Seemingly at the edge of sanity, Goldman holds forth on everyting from Papal edicts to ex-wives, from baseball to his family's massacre in a Nazi concentration camp. When Goldman remarks on a blue Mercedes continuously parked outside his building, Goldman's captive audience of assistant (Lawrence Pressman) and chauffeur (Henry Brown) dismiss their boss' anxiety as encroaching paranoia. But each of Goldman's passionate, seemingly capricious ravings are transformed into a shocking, inadvertent deposition when Israeli agents capture Goldman and put him on trial as Adolph Dorf, the commandant of the concentration camp where Goldman's family was supposedly exterminated. In a trial scene of unrelenting intensity, Academy Award© winner Schell (Judgement at Nuremberg) crafts what the Detroit Free Press called "a white-hot lead performance," mutating from eccentric Goldman to sociopath Dorf and beyond. The riddle of Dorf's true identity becomes wrapped in an enigma of cunning self-treachery and single-minded obsession. Veteran cinematographer Sam Leavitt enables Hiller to coax a vividly personal and electrifying intelligent dual portrait out of Schell. The Man in the Glass Booth is a timeless drama of surprising intimacy and indefatigable courage, "possessing," declared the Los Angeles Times, "a remarkably resilient sense of lightness for all the profound questions it ponders."

1979 film by Arthur Hiller

A writer for a greeting card company learns the true meaning of loneliness when he comes home to find his girlfriend in bed with another man.

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.

George Kellerman and his wife make a trip to New York, where he is about to take a new job. This journey turns out to be a trip to hell -- what can go wrong will go wrong.

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

Dr. Bock, the chief of medicine at a Manhattan hospital, is suicidal after the collapse of his personal life. When an intern is found dead in a hospital bed, it appears to Bock to be a case of unforgivable malpractice. Hours later, another doctor, who happens to be responsible for another case of malpractice, is found dead. Despondent, Bock finds himself drawn to Barbara, the daughter of a comatose missionary.

Harvard Law student Oliver Barrett IV and music student Jennifer Cavilleri share a chemistry they cannot deny - and a love they cannot ignore. Despite their opposite backgrounds, the young couple put their hearts on the line for each other. When they marry, Oliver's wealthy father threatens to disown him. Jenny tries to reconcile the Barrett men, but to no avail.