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Everett Bailey
Everett Bailey

Combat Warriors New Script


Combat Warriors is a fast-paced game that comes with its share of melee and ranged combat. Despite its release in 2019 on the Roblox platform, the game has already gathered more than 88 million visits, with up to 11,000 individuals playing simultaneously.




Combat Warriors New Script



Meanwhile, as mentioned earlier, we have come up with useful Roblox Combat Warriors scripts that enthusiasts of the game can take advantage of and they will be listed below alongside a guide that will aid players in their usage.


In the latest Combat Warriors game update there is a new map and several types of weapons: saw, nunchucks, rounded sword, hammer. In-game chat users are waiting for new tags and a set of commands for quick communication in multiplayer. The game is becoming more popular every day, thanks to this script you will have much more opportunities than other players and fight will be easier, download it as usual can with cheater.fun.


With his quick first step, defenses must send a body from the help-side to take away the penetration and Duval must consequently make the right play. Opposing teams will have in the scouting report that putting him in traffic maximizes his turnover rate. To combat this, he needs to learn to play at different speeds and control the tempo in transition and in the half-court.


The use of Vietnam Veteran interviews in writing the script for themovie 'Coming Home' is discussed, based on transcriptions of theinterviews conducted by the screenwriter Waldo Salt, as well as records ofstory conferences and different versions of the script. Topics includecharacter development, the appeal to myth, and the role of the Vietnam War inAmerican national identity.


Chief among the "real people" she spoke of were Vietnamveterans who were interviewed by screen writer Waldo Salt as part of hisresearch for the script. Although the film about the film was never made,Salt's interviews were recorded and transcribed. I found thetranscriptions in Waldo Salt's papers at the UCLA Research Library.


Salt's papers also contain transcribed copies of recorded"Story Conferences" which took place during the production of thefilm. Story conferences involved the major participants like Salt, directorHal Ashby, and actress Jane Fonda in discussions about the script and detailsof production. Finally, the Salt papers contain several versions of thescript.


Taken together, these documents--the interviews, storyconferences, and scripts--constitute a case study of how oral historymaterial became translated into an award-winning screenplay. They enable usto see the influence of the interviews on the development of the film'smajor characters and how the interviews shaped the film's story lines.Most importantly, we can see how the interviews were used to construct anarrative through which the American people continue to search for anunderstanding of the Vietnam war. It is a narrative that has displaced thepopular memory of the war itself with veteran coming-home stories anddisplaced the historically grounded image of politicized anti-war veteranswith the image of the victim-veteran. The victim-veteran imagery functions inthe nation's political culture as part of an alibi for why we lost thewar, namely, that our warriors were betrayed on the home front.(1)


But the hard core combat veteran is only one side of Bill Hagerthat we see in the interview. His fight was as much with the Marine Corps aswith the Vietnamese. He talks a lot about the pettiness of militarydiscipline and the incompetence of Marine Corps leadership. Most of theinterview sounds more like Catch 22 than Battle Cry. Hager tells Salt how theofficers used to harass troops for smoking dope and how he was supposed toreport on the men in his platoon if they were smoking. He remembers withpride that he refused to turn guys in:


At the beginning of Salt's first interview with Terry Hager,they rambled a bit about paraplegics, the loss of manhood, and the adjustmentthat paraplegics have to make to sexual dysfunction. Talking about Richard,Terry ends one statement saying how much he needed someone. "Those guysreally do need somebody," she says. From there the transcript reads asfollows:


In one respect all this was preliminary to talking about Bill, akind of warm-up to the substance of the interview. But it soon becomes clearthat for Salt, talking about the physical paralysis of paraplegics was a wayof speaking metaphorically about the psychological and emotional paralysis ofVietnam veterans. It is almost as if Salt had already decided that thereturning veteran in his script had to be a dysfunctional character and that,in order to write the character, he had to be able to image his prototype,Bill, as disabled. The conversation between Salt and Terry slides soimperceptibly from talking about physical impairment to talking about whatthey see as Bill's psychic impairment that one has to read and rereadthe transcript to confirm that Bill is not physically disabled.


The centrality of Terry Hager to the script is confirmed in thetranscribed recording of a July 29, 1976 story conference attended by Fonda,Director Hal Ashby and "Jerry," who may have been Producer JeromeHellman. At that conference, Fonda says, "Waldo has based Sally on aperson who exists, her name is T. Hager." Fonda sees no problem withHager being the prototype for Sally, per se, but she sees an absence ofcharacter development in the way Salt has written Sally's part."The problem with Sally," she says, "is that you never seewhere she is moving from. You never see how her one reality in the beginningcomes in conflict with a new reality which she then adapts herself to.... Ithink Waldo should seriously consider trying to erase T. Hager and think ofSally as an original character."(7)


Grace Rishell. Waldo Salt never erased Terry Hager'sinfluence on Sally but he did augment her development with elements fromGrace Rishell's story. Rishell had been working on a novel based on herown experience as an Air Force officer's wife from 1967 to 1970. InMarch of 1974 she read in the New York Times that Fonda was having a scriptwritten for her by her friend Nancy Dowd and that the script was about awoman waiting for her soldier husband to return from Vietnam.(8) Rishell,from Bayshore, New York, wrote to Fonda telling her about her novel andexpressing envy that it was not her story that would be told in the film.Salt interviewed Rishell in the fall of 1975.(9)


From Kovic to Muller to Luke. Like Sally, the construction of thecharacter Luke in Coming Home is probably a composite of two people, bothveterans, who were interviewed by Salt. It is unclear when a paraplegicveteran first become central to the development of the script. In Dowd'sdraft of "Buffalo Ghost" there is a paraplegic vet but he is thehusband of Sally's (named Marilyn in Dowd's script) friend and heis a minor character.(11) In Salt's first draft dated June 11, 1976 Lukeis more or less the character we see in the final version.(12) TerryHager's friend, Richard, may have been the inspiration. In any case,between the first draft and show time, the character underwent revisions andbehind those revisions lay a change in the real-life veterans who were beingused as a basis for Luke. This switch in prototypes also signaled a shift inthe film's political direction.


Kovic's influence on the script is evident. He told Salt, forexample, that "one of the scenes in the movie should be aparaplegic's first week at home with his girlfriend. They should both bein bed together." Kovic went on:


At a story conference on December 3, 1976, it was confirmed thatthe script, to that point, had been "vaguely based on conversations withKovic." But changes were being made. The unidentified note taker wrote,"It is agreed that [Bobby] Muller rather than Kovic is the prototype forLuke." Muller had been active in VVAW but, by 1976 he was trying toestablish another organization, Vietnam Veterans of America. He had appearedin the Oscar-winning 1976 documentary Hearts and Minds, and Salt had done alengthy interview with him in October.(14) Muller knew Kovic. The storyconference notes say that, "Muller was in fact the model forKovic's style."


Any doubt that Hager's words inspired Salt'sconstruction of the coming home scene that is reproduced as an epigram at thebeginning of this article is erased when we look at the stages of developmentthat the script went through on its way to the screen. In Salt's firstdraft he had Bob telling Sally as they approach the demonstrators at thegate, "Would you believe I'm carrying a revolver. Some cats havegrenades." Later in that draft, Bob retrieved "an arsenal"from his footlocker, took hostages, and fled to the hills before engaging aSpecial Police Combat Team in an armed stand off. In still another draft Salthad Bob telling Sally, "That asshole briefed us ... be prepared fordemonstrators throwing stones and all that shit."(17) While the detailschange, the image of the armed and paranoid veteran touched-off by hostileanti-war protestors is present from Hager's story, through the earlydrafts, and onto the screen.


But Durham also participated in a failed coup to unseat the union president. The losers got their walking papers. So he started a novel and plugged away at scripts from 1958 into the early 1960s. Then he again found a way to use his story-telling skills to reach and inspire a mass audience, this time through journalism.


His career was highly various yet marked by a powerful unity. That unity may be seen in his response to a reviewer who had questioned him about his scripts, a reply that should be repeatedly re-echoed today to people of European, African, Latino, Asian and other backgrounds:


Native American leaders used the practice of gift giving to create and sustain alliances, and were expected to demonstrate the important values of reciprocity and generosity. When Euroamerican military officers and traders formally "dressed" chiefs and leading warriors in military hats and uniforms, they often responded with gifts of their own martial regalia. In their expedition journals, Lewis and Clark described exchanging their own garments, such as shirts, with eminent men from several tribes, including the Nez Perce, Mandan, and Shoshone. The most famous such event occurred in... 041b061a72


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