1991réf. 164025Los Angeles: The Blackport Company 1991. Draft script for the 1993 film. From the archive of crew member Chris Scher. Following the death of his mother a twelve-year-old is sent to stay with his extended family in Maine. There he begins to suspect his cousin Henry outwardly a normal kind young boy of being a sociopath. An unusually eerie performance by Macaulay Culkin then at the peak of his career as a child actor after "Home Alone" 1990 and "My Girl" 1991 playing against type as the violent Henry. Chris Scher has worked in American films from 1994 to the present. She was a propmaker construction accountant/estimator/buyer and carpenter on over 20 movies including "The Last Seduction" 1994 "Pulp Fiction" 1994 "From Dusk Till Dawn" 1994 "The Horse Whisperer 1998 "Joy Ride" 2001 and others. She also performed the same work for prestige television dramas including "The Bridge" 2014 "Ozark" 2017 and "Yellowstone" 2018. Set in Maine shot on location in Cape Ann Massachusetts Two Harbors Minnesota and Las Vegas Nevada. Gray untitled wrappers. Title page present dated July 29 1991. 116 leaves with last page of text numbered 115. Xerographic duplication rectos only. Pages Near Fine wrapper Very Good plus bound with two gold brads. The Blackport Company unknown books
1991réf. 164025Los Angeles: The Blackport Company 1991. Draft script for the 1993 film. From the archive of crew member Chris Scher. Following the death of his mother a twelve-year-old is sent to stay with his extended family in Maine. There he begins to suspect his cousin Henry outwardly a normal kind young boy of being a sociopath. An unusually eerie performance by Macaulay Culkin then at the peak of his career as a child actor after "Home Alone" 1990 and "My Girl" 1991 playing against type as the violent Henry. Chris Scher has worked in American films from 1994 to the present. She was a propmaker construction accountant/estimator/buyer and carpenter on over 20 movies including "The Last Seduction" 1994 "Pulp Fiction" 1994 "From Dusk Till Dawn" 1994 "The Horse Whisperer 1998 "Joy Ride" 2001 and others. She also performed the same work for prestige television dramas including "The Bridge" 2014 "Ozark" 2017 and "Yellowstone" 2018. Set in Maine shot on location in Cape Ann Massachusetts Two Harbors Minnesota and Las Vegas Nevada. Gray untitled wrappers. Title page present dated July 29 1991. 116 leaves with last page of text numbered 115. Xerographic duplication rectos only. Pages Near Fine wrapper Very Good plus bound with two gold brads. The Blackport Company unknown
1972réf. 147379London: K.L.K. Films 1972. Draft script for an unproduced film Ian La Frenais' adaptation of Nicholas Luard's 1967 novel a political thriller. From the estate of film producer Elliott Kastner whose best known credits include "The Long Goodbye" Robert Altman 1973 "The Missouri Breaks" Arthur Penn 1976 and "Heat" Michael Mann 1996. Down on his luck news photographer Sear is offered a large payment to cover the secret exodus of 10000 Hungarian refugees across the border and finds himself embroiled in a game of international espionage. Blue untitled wrappers with die-cut title window in the British style. Title page present February 1972 with credits for screenwriter Ian La Frenais. 109 leaves with last page of text numbered 107. Mimeograph duplication rectos only. Pages Near Fine wrapper Near Fine bound internally with two flat metal brads. K.L.K. Films unknown books
1972réf. 147379London: K.L.K. Films 1972. Draft script for an unproduced film Ian La Frenais' adaptation of Nicholas Luard's 1967 novel a political thriller. From the estate of film producer Elliott Kastner whose best known credits include "The Long Goodbye" Robert Altman 1973 "The Missouri Breaks" Arthur Penn 1976 and "Heat" Michael Mann 1996. Down on his luck news photographer Sear is offered a large payment to cover the secret exodus of 10000 Hungarian refugees across the border and finds himself embroiled in a game of international espionage. Blue untitled wrappers with die-cut title window in the British style. Title page present February 1972 with credits for screenwriter Ian La Frenais. 109 leaves with last page of text numbered 107. Mimeograph duplication rectos only. Pages Near Fine wrapper Near Fine bound internally with two flat metal brads. K.L.K. Films unknown
1968réf. 156925Burbank CA: Warner Brothers / Seven Arts 1968. Revised Estimating script for the 1969 film. Based on the 1961 novel by Frank O'Rourke. A genre-bending film combining a heist feature and a comedy Western in which multiple gangs converge on Friendly Texas in order to attempt to rob the most unrobbable bank in the West. Tan titled wrappers noted as REV. ESTIMATING SCRIPT on the front wrapper rubber-stamped copy No. 99 dated August 1 1968. Distribution page present with receipt intact. Title page present dated August 1 1968 with credits for screenwriter William Peter Blatty. 136 leaves with last page of text numbered 133. Mimeograph on yellow stock with pink Confidential page and white distribution page bound in at the front. Pages Fine wrapper Near Fine bound internally with two gold brads. Pitts 1631. Warner Brothers / Seven Arts unknown books
1966réf. 132892London: Warner-Pathe 1966. Collection of 3 vintage black-and-white still photographs from the 1966 UK release of the 1966 US film. Mimeograph snipes and distributor rubber-stamps on the versos. Patrick O'Neal stars as a vengeful killer who escapes death-by-execution ravaging the city of Baltimore on the hunt for those responsible for his incarceration. 8 x 10 inches. Faint toning and creasing overall else Near Fine. Warner-Pathe unknown books
1969réf. 152375N.p.: N.p. 1969. Vintage borderless reference photograph taken on the set of the 1969 film showing Kim Novak topless mid-costume change aided by two wardrobe ladies. Based on the 1961 novel. A genre-bending film combining heist comedy and Western genres in which multiple gangs converge on Friendly Texas in order to attempt to rob the most unrobbable bank in the West. 7.5 x 9.5 inches. Near Fine. N.p. unknown books
1968réf. 156925Burbank CA: Warner Brothers / Seven Arts 1968. Revised Estimating script for the 1969 film. Based on the 1961 novel by Frank O'Rourke. A genre-bending film combining a heist feature and a comedy Western in which multiple gangs converge on Friendly Texas in order to attempt to rob the most unrobbable bank in the West. Tan titled wrappers noted as REV. ESTIMATING SCRIPT on the front wrapper rubber-stamped copy No. 99 dated August 1 1968. Distribution page present with receipt intact. Title page present dated August 1 1968 with credits for screenwriter William Peter Blatty. 136 leaves with last page of text numbered 133. Mimeograph on yellow stock with pink Confidential page and white distribution page bound in at the front. Pages Fine wrapper Near Fine bound internally with two gold brads. Pitts 1631. Warner Brothers / Seven Arts unknown
1969réf. 152375N.p.: N.p. 1969. Vintage borderless reference photograph taken on the set of the 1969 film showing Kim Novak topless mid-costume change aided by two wardrobe ladies. Based on the 1961 novel. A genre-bending film combining heist comedy and Western genres in which multiple gangs converge on Friendly Texas in order to attempt to rob the most unrobbable bank in the West. 7.5 x 9.5 inches. Near Fine. N.p. unknown
1980réf. 158084Universal City: Universal Pictures 1980. Vintage screening invitation for the 1980 film illustrated by Ralph Steadman on the recto with film credits on the verso. More than a little loosely based on Hunter S. Thompson's obituary for his closest associate Oscar Zeta Acosta a.k.a. Dr. Gonzo "The Banshee Screams for Buffalo Meat" which appeared in October 1977 issue of "Rolling Stone." A film that despite being an unholy mess represents in retrospect an intersection of ideas and talent as well as the first of many messy attempts to commit to celluloid the basically un-filmable life and work of Hunter S. Thompson. Bill Murray at this time little more than a droll comedic sensation arguably made the first step toward becoming the four-dimensional icon he is today though not necessarily by intention. Both Murray and Thompson had serious concerns about the quality of Kaye's script and at the beginning of filming both Thompson and Ralph Steadman came onto the set as "executive consultants." Though the author says he did little other than "wander around and fire machine guns" his influence on Murray was profound. The actor became obsessed with his idol and by all accounts became one with him. During production Murray and Thompson engaged in a series of dangerous one-upmanship contests including a Houdini-inspired stunt where Thompson tied Murray to a chair and threw him into a swimming pool. Murray nearly drowned before Thompson pulled him out. The pair's obsession with the film's poor script and continuity led to a hasty final addition of a voice-over narration and two explanatory scenes at the film's end. Three days prior to release a press screening was canceled because the film was still being edited. When Murray returned to the Saturday Night Live set in the fall of 1980 he was still immersed in character complete with long black cigarette holder dark glasses and nasty habits. One of the show's writers said that Murray .".was not Bill Murray he was Hunter Thompson. You couldn't talk to him without talking to Hunter Thompson." Doug Hill and Jeff Weingrad "Saturday Night Live: A Backstage History" William Morrow 1989 3.75 x 9 inches with a satin finish recto and matte verso. Fine. Universal Pictures unknown books
1980réf. 158084Universal City: Universal Pictures 1980. Vintage screening invitation for the 1980 film illustrated by Ralph Steadman on the recto with film credits on the verso. More than a little loosely based on Hunter S. Thompson's obituary for his closest associate Oscar Zeta Acosta a.k.a. Dr. Gonzo "The Banshee Screams for Buffalo Meat" which appeared in October 1977 issue of "Rolling Stone." A film that despite being an unholy mess represents in retrospect an intersection of ideas and talent as well as the first of many messy attempts to commit to celluloid the basically un-filmable life and work of Hunter S. Thompson. Bill Murray at this time little more than a droll comedic sensation arguably made the first step toward becoming the four-dimensional icon he is today though not necessarily by intention. Both Murray and Thompson had serious concerns about the quality of Kaye's script and at the beginning of filming both Thompson and Ralph Steadman came onto the set as "executive consultants." Though the author says he did little other than "wander around and fire machine guns" his influence on Murray was profound. The actor became obsessed with his idol and by all accounts became one with him. During production Murray and Thompson engaged in a series of dangerous one-upmanship contests including a Houdini-inspired stunt where Thompson tied Murray to a chair and threw him into a swimming pool. Murray nearly drowned before Thompson pulled him out. The pair's obsession with the film's poor script and continuity led to a hasty final addition of a voice-over narration and two explanatory scenes at the film's end. Three days prior to release a press screening was canceled because the film was still being edited. When Murray returned to the Saturday Night Live set in the fall of 1980 he was still immersed in character complete with long black cigarette holder dark glasses and nasty habits. One of the show's writers said that Murray .".was not Bill Murray he was Hunter Thompson. You couldn't talk to him without talking to Hunter Thompson." Doug Hill and Jeff Weingrad "Saturday Night Live: A Backstage History" William Morrow 1989 3.75 x 9 inches with a satin finish recto and matte verso. Fine. Universal Pictures unknown
1941réf. 159940N.p.: N.p. 1941. Vintage publicity photograph of actor Humphrey Bogart from the 1941 film noir. From the archive of film historian and author Joel Finler. Based on the 1941 novel by W.R. Burnett who also co-wrote the screenplay with John Huston. A career criminal and a former taxi dancer become involved in a jewel heist in a small town in California's Sierra Nevada. A breakthrough film for Bogart and the film that kicked off a long period of collaboration between Bogart and John Huston. Shot on location in San Bernardino National Forest and Lone Pine. 8 x 10 inches. Very Good plus lightly and evenly age toned with brief wear at the top corners. Grant US. Lee The Heist Film. Penzler 101. Scorsese A Personal Journey Through American Movies. Selby US Canon. Silver and Ward Classic Noir. Spicer US. N.p. unknown books
1941réf. 159940N.p.: N.p. 1941. Vintage publicity photograph of actor Humphrey Bogart from the 1941 film noir. From the archive of film historian and author Joel Finler. Based on the 1941 novel by W.R. Burnett who also co-wrote the screenplay with John Huston. A career criminal and a former taxi dancer become involved in a jewel heist in a small town in California's Sierra Nevada. A breakthrough film for Bogart and the film that kicked off a long period of collaboration between Bogart and John Huston. Shot on location in San Bernardino National Forest and Lone Pine. 8 x 10 inches. Very Good plus lightly and evenly age toned with brief wear at the top corners. Grant US. Lee The Heist Film. Penzler 101. Scorsese A Personal Journey Through American Movies. Selby US Canon. Silver and Ward Classic Noir. Spicer US. N.p. unknown
1968réf. 126256N.p.: N.p. 1968. Original poster for the 1968 Cuban film. Humberto Solás' operatic sprawling epic dramatizing Cuba's history through the eyes of three women named Lucía living through three momentous periods of the country's history; 1895 1932 and postrevolutionary 1960s. Winner of the Golden Prize and the Prix FIPRESCI at the 6th Moscow International Film Festival 1969. 20 x 30 inches. Very Good plus with faint rubbing and light creasing. Bright and unfaded. Criterion Collection 1045. N.p. unknown books
1968réf. 126256N.p.: N.p. 1968. Original poster for the 1968 Cuban film. Humberto Solás' operatic sprawling epic dramatizing Cuba's history through the eyes of three women named Lucía living through three momentous periods of the country's history; 1895 1932 and postrevolutionary 1960s. Winner of the Golden Prize and the Prix FIPRESCI at the 6th Moscow International Film Festival 1969. 20 x 30 inches. Very Good plus with faint rubbing and light creasing. Bright and unfaded. Criterion Collection 1045. N.p. unknown
1956réf. 125417Universal City CA: Hugo Haas Productions / Universal 1956. Original pressbook for the 1956 film. A later film from noted director Hugo Haas and actress Francesca de Scaffa's only credited role. One of the "milder" Haas films where a man and his dog try to survive on tough streets. One sheet folded once as issued with one insert sheet 12 x 18 inches. Very Good plus with a faint horizontal fold crease at the center of the wrapper and pages and a few short closed tears and creases. Hugo Haas Productions / Universal unknown books
1957réf. 155850Beverly Hills CA: Metro-Goldwyn-Mayer MGM 1957. Vintage studio still photograph from the 1957 film showing actors Eleanor Parker and Richard Boone. Based on the 1954 novel "The Bird's Nest" by Shirley Jackson about a young woman with dissociative identity disorder who undergoes hypnosis therapy. 10 x 8 inches. Near Fine. Metro-Goldwyn-Mayer [MGM] unknown books
1956réf. 155318Universal City: Universal-International 1956. Vintage reference photograph of director Hugo Haas behind a camera on the set of the critically acclaimed 1956 film. Printed mimeo snipe affixed to the verso. A film directed by and starring Haas about a former thespian-now a tramp-who performs with his dog on the streets of an unnamed city fighting with diminishing success to survive in a cruel and unforgiving environment. 10 x 8 inches. Near Fine. Universal-International unknown books
1962réf. 150315N.p.: Sutton Pictures 1962. Vintage studio still photograph from the 1958 film. "Paradise Alley" premiered in 1958 but was not released until 1962. Czech-born director Hugo Haas wrote produced and directed his own swan song quite the Hollywood movie an autobiographical homage to the cinema he knew. The cast featured film veterans from old Hollywood such as silent film star Corinne Griffith vaudeville star Billy Gilbert Keystone Cop Chester Conklin and Wicked Witch of the West herself Margaret Hamilton. Aging European director Rudolph Agnus Haas moves to the seedy Los Angeles neighborhood known as Paradise Alley a crowded home of bickering tenants. Finding a friend in Mr. Gregory Chester Conklin a retired cameraman Agnus proposes making a movie with the residents as actors to unite them and stop their petty bickering. Using a camera with no film and a cucumber made up to look like a microphone Agnus plan succeeds. When a studio hears of the project they offer to bankroll it enabling Agnus to actually make his film. 8 x 10 inches. Near Fine. Sutton Pictures unknown books
1951réf. 172413Los Angeles CA: Twentieth Century-Fox 1951. Five vintage studio still photographs from the 1951 film noir. A young woman's suicide jump attempt from a bridge is stopped by an old man passing by. The two fall in love - but the relationship between the young girl and old man is threatened when a blackmailer from her past shows up. Photos 8 x 10 inches on 10 x 15 inch mat board. Very Good to Near Fine. Grant US. Lyons. Selby US. Spicer US. Twentieth Century-Fox unknown books
1956réf. 155318Universal City: Universal-International 1956. Vintage reference photograph of director Hugo Haas behind a camera on the set of the critically acclaimed 1956 film. Printed mimeo snipe affixed to the verso. A film directed by and starring Haas about a former thespian-now a tramp-who performs with his dog on the streets of an unnamed city fighting with diminishing success to survive in a cruel and unforgiving environment. 10 x 8 inches. Near Fine. Universal-International unknown
1956réf. 125417Universal City CA: Hugo Haas Productions / Universal 1956. Original pressbook for the 1956 film. A later film from noted director Hugo Haas and actress Francesca de Scaffa's only credited role. One of the "milder" Haas films where a man and his dog try to survive on tough streets. One sheet folded once as issued with one insert sheet 12 x 18 inches. Very Good plus with a faint horizontal fold crease at the center of the wrapper and pages and a few short closed tears and creases. Hugo Haas Productions / Universal unknown
1957réf. 155850Beverly Hills CA: Metro-Goldwyn-Mayer MGM 1957. Vintage studio still photograph from the 1957 film showing actors Eleanor Parker and Richard Boone. Based on the 1954 novel "The Bird's Nest" by Shirley Jackson about a young woman with dissociative identity disorder who undergoes hypnosis therapy. 10 x 8 inches. Near Fine. Metro-Goldwyn-Mayer [MGM] unknown
1951réf. 172413Los Angeles CA: Twentieth Century-Fox 1951. Five vintage studio still photographs from the 1951 film noir. A young woman's suicide jump attempt from a bridge is stopped by an old man passing by. The two fall in love - but the relationship between the young girl and old man is threatened when a blackmailer from her past shows up. Photos 8 x 10 inches on 10 x 15 inch mat board. Very Good to Near Fine. Grant US. Lyons. Selby US. Spicer US. Twentieth Century-Fox unknown
1953réf. 130748Los Angeles: Twentieth Century-Fox 1953. Revised Shooting Final script for the 1954 film. Actor Van Heflin's copy. Includes a 10-page shooting schedule. Loosely based on the St. Albans Raid the northernmost land action of the American Civil War. The film took great liberties changing both the time and motivation for the raid. In the film a group of Confederate POWs escape across the US-Canada border to plan an attack on St. Albans Vermont. They send ahead of them a spy who begins to question the ethics of their mission. Goldenrod titled wrappers noted as Revised Shooting Final on the front wrapper dated December 10 1953. Distribution page present with receipt removed. Title page present dated December 10 1953 noted as Revised Shooting Final with credit for screenwriter Boehm. 116 leaves Multilith duplication with blue revision pages throughout dated variously between 12-12-53 and 1-6-54. Pages Fine wrapper Fine bound with two gold brads. Shooting Schedule: 10 leaves with annotations. Near Fine. Twentieth Century-Fox unknown books
