4,909 results
1986ref. 162438Los Angeles: Paramount Pictures 1986. Fourth Draft script for the 1987 film. Included with the script is a small promotional sign for the film featuring an illustration of a swimsuit-clad woman lounging at the beach. A high school gym teacher finds himself saddled with the task of teaching remedial English for summer school in order to get tenure. Shot on location in San Pedro Los Angeles and Santa Monica. Red Paramount titled wrappers. Title page present dated July 14 1986 noted as FOURTH DRAFT with credit for screenwriter Jeff Franklin. 119 leaves with last page of text numbered 118. Xerographic duplication rectos only. Pages Near Fine wrapper Near Fine bound with two gold brads. Sign measures 14 x 6 inches. Very Good plus lightly edgeworn and soiled. McPadden Teen Movie Hell. Paramount Pictures unknown
1969ref. 156231Los Angeles: Twentieth Century-Fox 1969. Final Draft script for the 1970 film. Laid in with the script is a production memo dated November 5 1969 paper-clipped to two blue revision pages that correspond to the revision pages bound into the script. Based on Howard Sackler's 1968 Pulitzer Prize Tony Award and New York Drama Critics' Circle Award-winning play a fictionalized account of the life of boxing champion Jack Johnson. James Earl Jones in his first starring role and Jane Alexander in her first film credit were both nominated for Oscars reprising their lead roles from the Broadway production. Shot on location in London Arizona and Barcelona. Blue titled wrappers noted as FINAL on the front wrapper noted as production No. 196 dated September 26 1969. Title page present dated September 26 1969 noted as FINAL with credits for screenwriter Howard Sackler. 152 leaves with last page of text numbered 151. Mimeograph duplication on eye-rest green stock rectos only with two blue revision pages dated 11/5/69. Pages Fine wrapper Near Fine bound internally with three gold brads. Twentieth Century-Fox unknown
1973ref. 142115London: Brut Productions / NBC 1973. Draft script for the 1973 film. Included are 4 vintage double weight black-and-white reference photographs of Glenda Jackson from the film. Brut Productions was a short-lived film production company formed by cosmetics brand Fabergé when sales of its perfume Xanadu skyrocketed following its appearance in a mock advertisement in Jack Haley Jr.'s "The Love Machine" 1971. A divorced British woman meets a married American man who serially cheats on his wife. They begin having an affair with each other that becomes more and more strained as things get more serious between the two of them. Glenda Jackson won the Academy Award for Best Actress for her role. Set in London and Andalucia Spain shot on location in London and Andalucia Spain. . Green untitled wrappers with a die-cut window in the British style with manuscript ink annotation of the letter E on top right corner. Title page present with credits for screenwriters Melvin Frank and Jack Rose and director Melvin Frank. 139 leaves with last page of text numbered 137. Xerographic duplication rectos only. Pages Near Fine wrapper Near Fine bound with two silver brads. Photos with layout annotations on the versos and two with "Films in London" rubber stamps on the versos else Near Fine overall. Brut Productions / NBC unknown
1970ref. 153124London: Genesis 1970. Draft script for the 1971 film seen here under the working title "Buff." A recently blinded woman visits her aunt and uncle's country mansion to recuperate and is stalked by a mysterious killer. Shot on location in Berkshire England. Black untitled wrappers with a die-cut title window in the British style. Title page present undated with credits for screenwriter Brian Clemens noted as copy No. 8 in manuscript ink annotation to the top right corner. 96 leaves with last page of text numbered 95. Mimeograph duplication rectos only. Pages Near Fine wrapper Near Fine bound internally with two silver brads. Genesis unknown
1974ref. 152021France: Les Films du Jeudi 1974. Two vintage oversize borderless double weight color reference photographs of Jane Birkin from the 1974 film. A liquor salesman Jean Carmet makes up stories to obscure his pathetic life in order to succeed at both business and with women until he meets Jane Birkin. 12 x 9.5 inches. Light wear at the extremities else Near Fine. Les Films du Jeudi unknown
1959ref. 166066London: Beaconsfield Films 1959. Draft script for the 1959 British film copy belonging to Art Director George Provis with manuscript pencil annotations in Provis' hand on six pages. Laid in are over 50 pages of notes prop requirements and original set drawings as well as a three-page Unit List three carbon-typescript copy pages listing props and a 1959 typed letter signed to Provis from J. Crichton Slagg of Anglo-Scottish Pictures Limited regarding matte painting for the film. Provenance available upon request. George Provis was a British Art Director and Production Designer who began his career working on quota quickies low budget features made to comply with Britain's Cinematograph Films Act of 1927 in the 1930s. After the Second World War Provis was appointed by British film producer Sydney Box to head the art department at Gainsborough Pictures and is credited on over 120 films. Based on the 1944 play "Pick-Up Girl" by Elsa Shelley. A New York juvenile court judge Thomas MItchell hears a case of a 15 year-old girl Pauline Hehn caught with a 47 year-old man and reveals in flashback the girl's neglectful parents and her life's downward-spiral which lead to prostitution and abortion. A rather troubling time capsule of victim blaming and the social and sexual politics of the 1950s wherein the casualty of pedophelia is on trial with nary a accusation leveled at of the perpetrator of the crime. More so disturbing as the film was directed and co-written by a woman Muriel Box and based on a play by a woman Elsa Shelley. Tall maroon untitled wrappers with a die-cut window in the British style. Title page present with credits for playwright Elsa Shelley. 99 leaves with last page of text numbered 98. Mimeograph duplication rectos only. Pages Near Fine wrapper Near Fine bound internally with three flat metal brads. Script and laid-in materials Near Fine overall. Beaconsfield Films unknown
1972ref. 152885Los Angeles: New World Pictures 1972. Archive of material from the 1972 film belonging to noted Blaxploitation director Oscar Williams. Included in the archive are two black and white photographs of cast and crew on the set one publicity photograph of musician Isaac Hayes a pressbook numerous day player employment contracts and Screen Actors Guild freelance contracts two newspaper clippings promoting the film attached to stiff white paper a list of participating theaters expense receipts and a significant amount of correspondence between Williams producer Lawrence S. Cruikshank and other crew members. Bronx-born director Williams directed and wrote a number of key Blaxploitation films in the heyday of the genre including "Five on the Black Hand Side" 1973 "Black Belt Jones" 1974 "Truck Turner" 1974 "Hot Potato" 1976 and "Death Drug" 1978. "The Final Comedown" his directorial and screenwriting debut follows a shootout between the police and a radical Black nationalist group similar to the Black Panthers punctuated by flashbacks leading up to the event. Varying sizes. Generally Very Good plus with light dampstaining wear and age-toning throughout. Howard Blaxploitation Cinema p. 138 229. New World Pictures unknown
1967ref. 148841Universal City: Universal Pictures 1967. Collection of ten vintage photographs including eight borderless reference photographs one borderless promotional photograph of Paul Jones and Jean Shrimpton and one promotional studio still photographof the same from the 1967 film. Nine of these with a mimeo snipe on verso one with additional "David Lasceller" stamp on verso. Peter Watkin's outrageous and paranoiac dystopian satire of the world's most famous and beloved pop star who is controlled by a totalitarian British government. Patti Smith covered one of the film's songs "Set Me Free" as "Privilege Set Me Free" on her 1978 album "Easter." Set in a near-future England shot on location in London and Birmingham England. 8 x 10 inches. Light edge and corner wear else Near Fine. BFI Flipside 7. Universal Pictures unknown
1964ref. 143227Paris: Les Films Ariane 1964. Collection of 343 vintage black-and-white photographs from the set of the 1964 film "That Man from Rio" here under the original French title "L'homme de Rio." Most are rubber-stamped on the versos indicating film studio Les Films Ariane still photographer Trigo Brazilian magazine "O Cruzeiro " and French film title several with annotations in manuscript ink also on the verso several with Trigo's name in manuscript ink. Over 100 smaller photos bear white borders and credit for photographer Voinquel. Also included is an issue of French magazine "Telérama" Sunday August 18 1963 No. 709 featuring cover and editorial on Belmondo and the film an original Somarco accordion folder dated 1963 and original mailing envelope addressed to Maryse Martres Ariane Films Champs-Élysées from Télé-photo Paris. Martres Martin was a prolific French actress who was later involved in press relations at Cinedis a notable film agency in operation since the Silent Film era. Airman Adrien Dufourquet Belmondo is in Paris on shore leave eager to see his Agnes Dorléac. When he finally sees her only briefly before she's kidnapped and held for ransom by a treasure-hungry family friend. A James Bond spoof in the wake of Belmondo's swashbuckling success "Cartouche" 1962 opposite Claudia Cardinale with puzzle solving murder in Brasilia art thieves and a pursuit to find sacred Amazon treasure. Nominated for an Academy Award for Best Writing Story and Screenplay: Written Directly for the Screen 1965 and winner of a New York Film Critics Circle Award for Best Foreign Language Film 1964. Members of the cast and crew are featured throughout the collection including director de Brocca who earlier worked under directors Claude Chabrol and François Truffaut Belmondo cameramen and an extensive look at the scenery of Brazil and Paris. Boats racing Belmondo dangling from a speeding car and languid down times as cast and crew break for naps in the shade photographer Trigo's often provocative angles capture the director in dimly lit noirish scenarios and a glimpse of the action-packed thrill-ride of shooting a Bond spoof with elements of MacGuyver. Coincidentally photographer Voinquel's direct approach shows stills from a more casual standpoint not without generous documentation of the crew behind the camera. Photographs 7 x 9.25 inches and 3.5 x 5 inches some varying slightly overall. Mailing envelope and folder each 10 x 12.5 inches. Photos Very Good Plus overall moderate curling several with bruises or insect wear at the edges several with moderate dampstains. Envelope and folder Good with short tears and similar dampstains. Magazine Very Good wavy brief toning. Les Films Ariane unknown
1969ref. 147024Burbank CA: Warner Brothers / Seven Arts 1969. Six vintage temporary tattoos issued as a promotional item for the 1969 film by the beloved but short-lived film studio Warner Brothers-Seven Arts. With both the original envelope housing the tattoos and a Warner Brothers-Seven Arts mailing envelope addressed to film critic photographer and poet Michael S. Dworkin. The decals shown in reverse here for the sake of readability are inspired by the designs for the tattoos sported by actor Rod Steiger in the film with the promotional copy inviting the recipient to "be your own illustrated man." The only example we have encountered unsurprising given the temporary nature of the item. Based on three short stories from Bradbury's acclaimed collection "The Veldt" "The Long Rain" and "The Last Night of the World." Tattoos variously sized between 4.25 x 5.75 and 8.75 x 4 inches. All but one of the tissue guards are still fully attached. Bright and Near Fine. Promotional envelope 5.25 x 10 inches. Chip to the envelope flap and some bruising from having been opened else Near Fine. Warner Brothers / Seven Arts unknown
1943ref. 150216Los Angeles: Paramount Pictures 1943. Five vintage borderless double weight reference photographs taken on location in Spain for the 1943 film most showing director Sam Wood and actors Joseph Calleia Lilo Yarson Gary Cooper Katina Paxinou and Ingrid Bergman. With printed mimeo snipes affixed to the verso. From the archive of the PIX Agency a photo house that acted as an intermediary between emigre photographers as well as those still living in Europe and the American magazine and newspaper market between 1935-1969. Based on Ernest Hemingway's 1940 novel which follows the experiences of an American fighting against the fascists in the Spanish Civil War and his relationship with a young guerrilla fighter. Nominated for nine Academy Awards winning one for Best Supporting Actress for Katina Paxinou. Set and shot on location in Spain. 9.5 x 7.5 inches. Near Fine. Paramount Pictures unknown
1986ref. 171897N.p.: IndieProd Company 1986. Draft script for the 1987 film comedy. Copy belonging to stunt coordinator Joe Dunne with his name in manuscript ink at the top corners of several revision pages. Missing page 29 likely as used or issued. With color revision pages througout. One of the best comedies of the 1980s a modern-day adaptation of Edmond Rostand's 1897 play "Cyrano de Bergerac" and adapted by actor Steve Martin about a man whose insecurity over his unusually large nose leads him to hide his feelings for the woman he loves. Shot on location in British Columbia. Beige IndieProd production company wrappers. Lacking title page presumably as issued. 150 leaves with last page of text numbered 118. Xerographic duplication on blue stock rectos only with yellow green and goldenrod revision pages throughout dated variously between August 7 and 16 1986. Pages Near Fine wrapper about Near Fine bound internally with two gold brads. IndieProd Company unknown
1987ref. 161345Burbank CA: Warner Brothers 1987. Second Draft script for the 1988 film. Steven Seagal in his film debut stars as Nico Toscani an Italian-American ex-CIA agent and martial arts expert working for the Chicago police force. What begins as a drug trafficking investigation soon reveals the CIA's involvement in an international weapons-trade operation. Nico goes to great lengths to stop Zargon Henry Silva the corrupt CIA agent behind it all. Shot on location in O'ahu and Chicago. Red titled wrappers. Title page present dated March 27 1987 noted as SECOND DRAFT with credits for screenwriters Steven Pressfield Ronald Shusett and Andrew Davis and story credits for Andrew Davis and Steven Seagal. 112 leaves with last page of text numbered 110. Mechanical duplication rectos only. Pages Near Fine wrapper Near Fine bound with two gold brads. Moore The Good the Tough and the Deadly: Action Movies and Stars 1960s-2015. Warner Brothers unknown
1949ref. 144415Los Angeles: Twentieth Century-Fox 1949. Final Draft script for the 1950 film. With a "New York Legal Department" rubber stamp on the front wrapper and extensive manuscript pencil annotations throughout likely by a professional reader regarding differences between the source novel by Thomas B. Costain and the script. Based on Costain's 1945 novel and partially conceived as a sequel to the 1949 film "Prince of Foxes" in order to reunite Tyrone Power and Orson Welles. "The Black Rose" features Power as a Saxon youth who runs away from England during the Crusades. Somehow he and his North African warlord friend Orson Welles make it to China where they get involved with the court of Kubla Kahn. Nominated for an Academy Award. Set in England and the Far East shot on location in England and Morocco. Blue titled wrappers noted as FINAL on the front wrapper rubber-stamped copy No. 19 and production No. 125 dated May 4 1949. Distribution page present with receipt removed. Title page present dated May 4 1949. PAGES leaves with last page of text numbered 161. Mimeograph duplication rectos only with blue revision pages throughout dated 5/17/49 and 7/5/49. Pages Fine wrapper Very Good bound internally with three gold brads. Twentieth Century-Fox unknown
1951ref. 122115Rome: Albert and Charles Boni 1951. Original Italian program for the 1951 film based on the novel "Toto il buono" by Cesare Zavattini. SIGNED by Vittorio De Sica at the bottom of the title page. One of the director's classics pure visual storytelling made just after "Bicycle Thieves" 1948 and just before "Umberto D." 1952. A gorgeous oversize program with a central illustration on the front wrapper within a debossed frame. The wrapper houses 6 loose deluxe card plates as issued the first two devoted to text and the last four being full-color lithograph illustrations reflecting the film story. One of the most beautiful programs we've ever seen. Plates Near Fine outer wrapper Very Good plus with a few tears at the edges but no loss 12.75 x 17.25 inches. Albert and Charles Boni unknown
1966ref. 149378N.p.: Delpire 1966. Three vintage borderless reference photographs from the 1966 film. With the stamp of Tele-Magazine on the verso. An anarchic satire of the fashion industry directed by a true insider "Vogue" magazine's longtime photographer William Klein. Dorothy McGowan in her first and only film appearance stars as young model Polly Maggoo who becomes the subject of a television documentary news episode over the course of Paris Fashion Week. Set and shot on location in Paris. One photograph 10 x 8 inches two photographs 10 x 7.5 inches. Near Fine. Delpire unknown
1953ref. 152724N.p.: N.p. 1953. Vintage oversize borderless matte-finish double weight photograph of Charlton Heston receiving a massage on the set of the 1953 film. With the stamp of photographer Bill Avery on the verso. A Chief of Scouts mistrusts the Apache tribe after the chief refuses to sign a peace treaty but his concerns are disregarded by the US Army. Bill Avery worked as a photographer at Columbia Pictures in the early twentieth century with a brief interlude working as a combat cameraman during World War II. He also worked at MGM under noted photographer C.S. Bill and occasionally worked as a freelance publicity photographer shooting iconic images of Elvis Presley Jack Lemmon Katharine and Audrey Hepburn and Shirley MacLaine among many others. Shot on location in Texas. 9 x 13.5 inches. Near Fine. Pitts 166. N.p. unknown
1965ref. 151829N.p.: N.p. 1965. Archive of 14 original reference photographs taken on the set of the 1965 film and two original contact sheets with 24 images of cast and crew members at what appears to be a wrap party. Several photographs with manuscript ink annotations to the verso identifying figures in the images. One photograph date-stamped APR 27 1964 inscribed on the recto by uncredited location manager Howard "Dutch" Horton to production supervisor John Palmer and another photograph inscribed to Palmer from an unknown crew member in manuscript ink annotation to the verso. From the collection of John Palmer. Included with the collection is a brief typescript note signed from publicist Phil Gersdorf to Palmer gifting Palmer the contact sheets. Based on Boris Pasternak's controversial Nobel Prize-winning 1957 novel following a married physician whose life is irreversibly changed by the Russian Revolution and resulting Civil War. Nominated for ten Academy Awards winning five including Best Screenplay and Best Cinematography. Pasternak's novel was widely banned in the Soviet Union due to its perceived criticism of the Soviet government forcing director David Lean to begin filming on location in Spain-chosen in large part as a result of his positive experiences filming "Lawrence of Arabia" there several years prior as well as the promise of snow. The film was shot over ten months in Soria and Aragon and at the Aldeadavila Dam with a large-scale Moscow set built outside of Madrid as documented throughout the archive. An unseasonably warm winter in Spain obligated production to head to Finland and Canada in the final months of shooting in order to obtain a sufficiently wintry backdrop for landscape scenes. The archive includes eleven photographs of cast and crew members between takes on the Moscow set several shots featuring Palmer and director David Lean during a parade scene with crowds of extras in Soviet militia garb in the background. The Moscow photographs in particular highlight the intricate set and costume design elements which went into constructing the mock city including several striking images of parade participants holding huge portraits of Soviet officials. An unusual addition to the collection is a photograph of Palmer in conversation with noted Austrian-American director Fred Zinnemann who collaborated with actor Omar Sharif in "Behold a Pale Horse" earlier in 1964. Shot on location throughout Spain Finland and Canada. Photographs and contact sheets varying sizes. All materials generally Very Good plus several photographs with moderate toning. N.p. unknown
1958ref. 153663Burbank CA: National Broadcasting Company NBC 1958. Archive of six Revised Draft scripts for the 1958 three-part television episode originally aired on June 25 1958 on NBC. Collection includes three scripts noted as Acts I-III and one script duplicate of Act I only and two scripts compiling all three acts. Also included are two typescript pages noting story outlines for a proposed "87th Precinct" television series. Each script signed by screenwriter Larry Cohen and three scripts with manuscript pencil and ink annotations by Cohen throughout noting deletions and substantive revisions. "Kraft Theatre" was a dramatic anthology television series which aired on NBC from 1947 to 1958. In this episode loosely based on Ed McBain's "87th Precinct" novel series a solitary widow whose frequent calls to the police to report a burglar are usually ignored turns up dead in her apartment. An early venture for screenwriter Larry Cohen who would go on to write Blaxploitation films "Bone" 1972 "Black Caesar" 1973 and "Hell Up in Harlem" 1973 as well as several popular horror and science fiction films including "It's Alive" 1974 "God Told Me To" 1976 and "The Stuff" 1985. Set and shot on location in New York. Act I Revised Script with pencil annotation on the front wrapper: Self wrappers. Title page present noted as REVISED dated 6/17/58 with credits for screenwriter Larry Cohen. Title page integral with the front wrapper. 30 leaves with last page of text numbered I-24. Mimeograph duplication rectos only. Pages Very Good plus with the last leaf detached from the binding partially bound with a single staple to the top left corner. Act II Revised Script: Self wrappers. Title page present noted as REVISED dated 6/17/58 with credits for screenwriter Larry Cohen. Title page integral with the front wrapper. 43 leaves with last page of text numbered II-68. Mimeograph duplication rectos only. Pages Near Fine partially bound with a single staple to the top left corner. Act III Revised Script: Self wrappers. Title page present noted as REVISED dated 6/17/58 with credits for screenwriter Larry Cohen. Title page integral with the front wrapper. 34 leaves with last page of text numbered III-103. Mimeograph duplication rectos only. Pages Near Fine partially bound with a single staple to the top left corner. Act I Revised Script with no pencil annotation on the front wrapper: Self wrappers. Title page present noted as REVISED dated 6/17/58 with credits for screenwriter Larry Cohen. Title page integral with the front wrapper. 30 leaves with last page of text numbered I-24. Mimeograph duplication rectos only. Pages Near Fine partially bound with a single staple to the top left corner. Complete script: Lacking wrappers and title page possibly as issued. 144 leaves with last page of text numbered III-136. Mimeograph duplication rectos only. Pages Near Fine partially bound with a single staple to the top left corner. Revised complete script: Lacking and title page possibly as issued. 94 leaves with last page of text numbered III-87. Mimeograph duplication rectos only. Pages Near Fine partially bound with a single staple to the top left corner. National Broadcasting Company [NBC] unknown
1972ref. 153235N.p.: Gerard Damiano Film Productions 1972. Vintage three-color press kit for the groundbreaking 1972 adult film with annotation in manuscript marker on upper right of recto of first page of "Coming! Feb 21st" with a two page center spread featuring a synopsis and black and white photographs and ad mats on verso of second page. The film that heralded in the "Golden Age of Porn." One of the first pornographic films to feature a plot character development and comparably high production values. 8.5 x 11 inches bi-fold. Very Good plus with horizontal crease from having once been folded paper tape shadows on top and bottom margins of the recto of first panel a few one-inch pieces of cello tape on the center spread and paper tape shadow on top and bruise on bottom of verso of second page. Apart from this generally bright and unfaded. Gerard Damiano Film Productions unknown
1960ref. 166647Paris: L'Express 1960. Eight vintage borderless reference photographs from the 1960 Swedish film including multiple images of cast and crew on the set. Italian and French distribution stamps on the versos. A landmark twentieth century film whose irregular dramatic structure and juxtaposition of beauty and violence has inspired many other controversial and renowned films from "The Last House on the Left" 1972 to "Irreversible" 2002. The first of two Bergman efforts to win the Academy Award for Best Foreign Film and nominated for the Palme d'Or with Bergman receiving a Special Mention at Cannes. Set in medieval Sweden. 9.5 x 7 inches. Near Fine to Very Good plus. L'Express unknown
1971ref. 170566N.p.: Harvest Productions 1971. Collection of nine vintage double weight borderless reference photographs of Johnny Cash and his family on the set or the location of the 1971 film. All nine photographs with mimeo snipes Sandra Lee Kaplan photography stamps and publishing stamps on the versos others variously with provenance stamps and annotations see images. Five of the photographs feature Cash exclusively two feature Cash and his step-daughters Rebecca Carlene Smith here Karleen and Rosie Nix Adams both of whom appeared as extras in the film one of Adams and Kirk Douglas' son Eric and one of Cash with June Carter Cash and their newborn son John Carter Cash. Desperate for money two aging gunfighters conspire to organize a public showdown for which they plan to sell tickets. Partially shot on location in Santa Fe New Mexico and Madrid Spain. 7 x 10 inches to 8 x 10 inches. Near Fine overall with light edgewear three with masking tape on the verso and one with masking tape on the verso extending beyond the margin with cropping annotations see image. Harvest Productions unknown
2017ref. 163911London: Blueprint Pictures 2017. Draft script for the 2017 film. Copy belonging to production designer David Wasco with his name watermarked on every leaf. From the archive of crew member Chris Scher. A Missouri woman rents three billboards to draw attention to her daughter's unsolved rape and murder setting off a violent chain of reactions among members of her small community and the police officers responsible for overseeing the investigation. Nominated for seven Academy Awards winning two for Best Supporting Actor for Sam Rockwell and Best Leading Actress for Frances McDormand. 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 films including "The Last Seduction" "Pulp Fiction" "From Dusk Till Dawn" "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 Ebbing Missouri shot on location in Sylva North Carolina. Self wrappers. Title page present undated with credit for director and screenwriter Martin McDonagh. 102 leaves with last page of text numbered 101. Xerographic duplication rectos only. Pages Near Fine bound with one gold and one silver brad. Blueprint Pictures unknown
1969ref. 153094London: Ned Sherrin 1969. Early Draft script for the 1970 British film with annotations in manuscript ink on four pages a "1." on the title page and three underlining locations. Script preceded by six pages of notes on story cast of characters and notes on principal characters. An ad man is tasked with creating a new sexy image for a frozen porridge brand. A satirical farce directly ridiculing British conservative activist Mary Whitehouse who in 1970 was staging a war on gratuitous sex in advertising and many other fields of British life. Shot on location in London and Surrey. Dark blue untitled wrappers with die-cut window in the British Fashion. Title page present dated 6th February 1969 with credits for screenwriters Marty Feldman and Barry Took and story credit for Milton Shulman and Herbert Kretzmer. 101 leaves with last page of text numbered 93. Mimeograph duplication rectos only. Pages Near Fine wrapper Near Fine bound internally with three flat metal brads. Ned Sherrin unknown
1988ref. 172338Santa Monica: Cinema City 1988. Shooting script for the 1988 film with rainbow revisions. A former drug dealer tries to quit his old habits but nevertheless finds himself caught in the crosshairs of a large-scale Drug Enforcement Administration investigation. The second film to be both written and directed by Robert Towne following "Personal Best" 1982. Nominated for an Academy Award for Best Cinematography. Set and shot on location in Manhattan Beach California. Self wrappers. Title page present dated January 14 1988 noted as SHOOTING SCRIPT with credit for Towne. 150 leaves with last page of text numbered 142. Xerographic duplication rectos only with rainbow revision pages throughout dated variously between February 8 and March 4 1988. Pages about Fine bound with two gold brads. Cinema City unknown
