Peter Bogdanovich, Ralph Baccash (screenwriters); Georges Feydeau (play)
Draft script for an unproduced film. Incomplete as issued. Single manuscript pencil annotation on the title page. Based on the 1894 comic play "Un fil a la patte" by Georges Feydeau, about the efforts of a young playboy to break up with his mistress and marry into a respectable family. Self wrappers. Title page present, dated January 6, 1978, noted as ROUGH DRAFT SCREENPLAY, with credits for screenwriters Peter Bogdanovich and Ralph Baccash, and playwright George Feydeau. 169 leaves, with last page of text numbered 166. Xerographic duplication, rectos only. Pages Very Good plus, bound with two gold brads.
Errol Morris (director); Tony Hillerman (novel); Neal Jiminez, Eric Bergren (screenwriters); Lou Diamond Phillips, Fred Ward, Gary Farmer (starring)
Archive of material from the 1991 film belonging to carpenter Jamie Upham. Included in the archive is a Shooting script dated 8/15/90, and approximately 150 pages of production ephemera, including memos and notes regarding housing, filming locations, transportation, and catering, contact sheets, and call sheets. Based on the 1982 novel by Tony Hillerman, the fifth in the Navajo Tribal Police series, and the second in the series to feature Jim Chee, about a Native police officer who is drawn into a web of theft and murder after a small plane crashes on the reservation. The feature film debut of documentary filmmaker Errol Morris. Shot on location in Tuba City and the Navajo and Hopi Reservations in Arizona, and in New Mexico. Screenplay: Self wrappers. Title page present, dated 8/15/90, noted as 1st Draft Shooting Script, with credits for novelist Tony Hillerman and screenwriters Eric Bergren, Neal Jimenez, and Mark Horowitz. 123 leaves, with last page of text numbered 102. Xerographic duplication, rectos only, with pink and blue revision pages throughout, dated 8/17/90 and 8/22/90. Pages Very Good plus, bound with three gold brads. Ephemera generally Very Good plus to Near Fine, with occasional creasing and wear.
Wolfgang Petersen (director, screenwriter); Leonard Schrader (screenwriter); Richard Neely (novel); Tom Berenger, Bob Hoskins, Greta Scacchi (starring)
Draft script for the 1991 film, here under the working title "Plastic Nightmare." Incomplete as issued. Based on Richard Neely's 1971 novel "The Plastic Nightmare." A man emerges from a bloody car accident with amnesia, and begins to suspect foul play as he delves further into the details of the crash. Director Wolfgang Petersen was best known for directing the Academy Award-winning World War II epic "Das Boot" (1982), and for the thrillers "In the Line of Fire" (1993), "Outbreak" (1995), and "Air Force One" (1997). Set in northern California, shot on location in Oregon and California. Silver untitled wrappers. Title page present, with credits for screenwriters Wolfgang Petersen and Leonard Schrader, and novelist Richard Neely. 87 leaves, with last page of text numbered 86. Xerographic duplication, rectos only. Pages Near Fine, wrapper Very Good plus, with a partial ring stain on the front wrapper, bound internally with three gold brads.
Dustin Hoffman, Anne Bancroft, Katharine Ross (starring); Mike Nichols (director); Charles Webb (novel); Calder Willingham, Buck Henry (screenwriters)
Archive of material from the 1967 film belonging to an unknown crew member, including one annotated Final Draft script and a bound set of manuscript breakdown sheets. Screenplay annotations primarily note scene changes, with occasional mentions of transportation in the film. Based on Charles Webb's 1963 novel, a satirical tale of the suffocation of the middle class, told through a recent college graduate's ersatz relationship with an older married woman. Nominated for seven Academy Awards, winning Best Director for Mike Nichols. In an introduction to a 2010 screening of the film screenwriter Buck Henry noted that it was not until he had completed his version of the script that he discovered Calder Willingham had written an earlier one-meaning there was no collaboration between the two writers whatsoever. Though Henry's was the script used for the film, both screenwriters were ultimately credited. Set in Pasadena. Screenplay: Beige wrappers with title noted in manuscript ink annotation on the front wrapper. Title page present, noted as Final Draft, dated March 29, 1967, noting production No. 20055, with credit for screenwriter Buck Henry. 162 leaves, with last page of text numbered 176. Early xerographic duplication, rectos only. Pages Near Fine, wrapper Very Good plus, with light rusting on the wrapper versos near the binding, bound internally with three silver brads. Bound breakdown sheets: Beige wrappers with title noted in manuscript ink annotation on the front wrapper. Lacking title page, presumably as issued. 154 leaves, with last page numbered 154. Early xerographic duplication, rectos only. Pages Near Fine, wrapper Very Good plus, with light rusting on the wrapper versos near the binding, bound internally with three silver brads.
Mike Hodges (director, screenwriter); Rosanna Arquette, Jason Robards, Tom Hulce (starring)
Final Draft script for the 1989 neo-noir film. Copy belonging to cinematographer Gerry Fisher, with 13 pages of production materials laid in, including revision pages, manuscript leaves, and production memos, dated variously between October 26 and November 19, 1988. Several of the laid-in pages bear Fisher's name on the top margins in manuscript pencil and ink. A medium finds herself the target of a corporate hitman after she foretells the death of a factory whistleblower. Although well received by critics, the film's distributors fell into financial difficulties, resulting in it never receiving a full cinema release. Shot in Rock Hill, South Carolina, and Charlotte, North Carolina. Blue titled wrappers, undated, noted as FINAL DRAFT (3), with credit for screenwriter and director Mike Hodges. Title page present, undated, noted as FINAL DRAFT (3), with credit for screenwriter and director Mike Hodges. 107 leaves, with last page of text numbered 106. Xerographic duplication, rectos only. Pages Fine, wrapper Near Fine, bound with two gold brads.
Gwen Bagni, Paul Dubov, Frank Ray Perilli (screenwriters)
Draft script for an unpropduced film. Annotations on three leaves in manuscript ink and pencil. A mentally disabled young man gets into trouble through no fault of his own, falling in love with his boss and accidentally getting into an altercation with a nun. Brown untitled wrappers. Title page present, dated June 1, 1977, with credits for screenwriters Gwen Bagni, Frank Ray Perilli, and Paul Dubov. 138 leaves, with last page of text numbered 137. Xerographic duplication, rectos only. Pages Near Fine, wrapper Near Fine, with a black Velo binding.
James Dean (starring); George Stevens (director); Edna Ferber (novel); Sanford Roth (photographer); Fred Guiol, Ivan Moffat (screenwriters); Elizabeth Taylor, James Dean, Rock Hudson, Carroll Baker (starring)
Vintage photograph from the set of the 1956 film, showing James Dean in rehearsal with Elizabeth Taylor. With the stamp of still photographer (and Dean's close friend) Sanford Roth on the verso. Based on the 1952 novel by Edna Ferber, about the life of a Texas cattle rancher and his family. James Dean's final film, for which he received a posthumous Academy Award nomination. Nominated for eight additional Oscars, including Best Picture, winning one for Best Director. Brooklyn-born photojournalist Sanford Roth was best known for his portrait photography, capturing iconic, intimate images of artists and actors throughout his decades-long career, including Marc Chagall, Joan Crawford, Albert Einstein, Henri Matisse, and Elizabeth Taylor, among many others. 5.5 x 7 inches. Near Fine. National Film Registry.
Paul Laurence Dunbar; Margaret Armstrong (illustrator)
First Edition. First printing, with the title page in state B, printed in black and green. With art nouveau decorations by Margaret Armstrong, and photographs by the Hampton Institute Camera Club, throughout. A collection of nine poems by renowned, influential African American poet Paul Laurence Dunbar, best known for his dialect verse. Very Good plus in a Very Good plus example of the excessively rare dust jacket. Gilt lightly rubbed, with some offsetting from the jacket flaps to the endpapers, faint foxing on the half-title page. Jacket has a few short tears on the edges, two mended with archival tape on the verso, and small chips at the corners and crown.
