AN ANNOTATED CATALOG OF UNPUBLISHED FILM AND TELEVISION SCRIPTS AT THE UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN BY NANCY ALLEN AND ROBERT L. CARRINGER ROBERT B. DOWNS PUBLICATION FUND; NO. 7 LIBRARY OF THE UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN Coll. u. 011.37 A54a AN ANNOTATED CATALOG OF UNPUBLISHED FILM AND TELEVISION SCRIPTS AT THE UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN BY NANCY ALLEN AND ROBERT L. CARRINGER ROBERT B. DOWNS PUBLICATION FUND; NO. 7 UNIVERSITY OF ILLINOIS LIBRARY and THE GRADUATE SCHOOL OF LIBRARY AND INFORMATION SCIENCE Distributed by The Publications Office, Graduate School of Library and Information Science University of Illinois We gratefully acknowledge the encouragement and assistance of the follow- ing colleagues at the University of Illinois: Robert B. Downs, University Librarian Emeritus, whose generosity made this series of publications possi- ble; Robert W. Oram, now Director of Central Libraries at Southern Methodist University, who supported the development of the script collection; Michael Gorman, Library Director of General Services and co-author of Anglo American Cataloguing Rules, Second Edition, who checked the cataloging entries for us; Steven P. Hill, Associate Professor of Slavic, and film historian, who read the entire manuscript for factual accuracy; and the staff of the Rare Book Room, which houses the script collection. Robert L. Carringer Associate Professor of English and Cinema Studies Nancy Allen Associate Professor of Library Administration Library of Congress Cataloging in Publication Data Allen, Nancy, 1950- An annotated catalog of unpublished film and television scripts at the University of Illinois library at Urbana-Champaign. (Robert B. Downs Publication Fund ; no. 7) Includes indexes. 1. Moving-picture plays Catalogs. 2. Television plays Catalogs. 3. University of Illinois (Urbana-Champaign campus). Library. I. Carringer, Robert L. II. Title. III. Series. Z5784.M9A4 1983 [PN1997.3] Oil'. 37 83-5110 ISBN 0-87845-069-6 r !983 The Board of Trustees of the University of Illinois oc TABLE OF CONTENTS Introduction 1 Scripts of Feature Films 5 Unproduced Scripts 94 Television Scripts Ill Personal and Corporate Names Index 116 Alternate Script Titles and Source Titles Index 125 *< in J ^"-' INTRODUCTION The collection of film and television scripts in the University of Illinois Library numbers about 300 items. More than three-fourths of these are scripts for English-language feature films. The oldest items in the collection are a series of continuities for the 1925 classic Greed, directed by Erich von Stroheim; the most recent are two early drafts of the script for the recent remake of The Jazz Singer, released in December 1980. The two most sizable components of the collection are scripts for American films of the 1940s and the 1970s. In terms of numbers alone, the collection is not very large. On the other V* hand, practically every item has been individually selected either for its im- portance as a script or for its significance in a film genre or in a director's or performer's career. Script collections are usually not selective in this way; most represent the entire output of a single studio or production company, or else of individual artisans or artists, and hence contain a large proportion of merely workaday material. Consequently, the University of Illinois collection contains a greater number of scripts for important films than are contained by some collections which are much greater in size. Included in the collection are sixteen scripts representing thirteen films directed by John Ford, including two of his rare silent features; twelve scripts representing ten films directed by Ernst Lubitsch; and ten scripts representing eight films directed by John Huston. There are scripts for eight films directed by Elia Kazan, and six each for films by George Cukor, Alfred Hitchcock, and Billy Wilder. There are five scripts for films directed by Robert Altman, plus one script for an Altman production directed by someone else. There are five scripts for films written and directed by Preston Sturges, plus one script writ- ten by him for another director, and-an unproduced and previously unknown comedy script by Sturges from the middle 1930s. There are four scripts for films written and directed by Francis Ford Coppola, plus one script written by him for another director and three of his unproduced screenplays. There are fourteen scripts written or co-written by Ben Hecht (including two rare un- produced items) and ten by Samson Raphaelson. Numerous other classic Hollywood writers such as Nunnally Johnson, Dudley Nichols, and Phillip Dunne are represented. In a number of cases, there is more than one draft of the script, and in several cases there are for the same title both a final screenplay and a continuity script taken from the completed film. Also in- cluded in the collection are about a dozen miscellaneous scripts for television productions, and script drafts for sixteen feature films that were never made. In preparing a catalog to this collection, we have tried to provide sufficient descriptive information about each individual script so that researchers, librarians, and bibliographers in distant locations can tell at a glance whether and in what way an item is of interest to them. The catalog is arranged in three sections: scripts of feature films, scripts of unproduced features, and television scripts. The scripts of feature films are arranged alphabetically by the release title in the country of origin. The entries in this section have three parts descrip- tion, comment, and identification. The descriptions provide information about the form of the manuscript (whether typescript, mimeograph, photo- reproduction, and so on), its cover or script contents leaf, and the format of the script itself. They also itemize such special features as individually dated revision leaves, inserted materials such as retake pages or photographs, and handwritten notations. The comment section (included where appropriate or where the authors have special information) gives analytic information about the script, such as the number, color, and dates of the revision pages; the nature of the annotations and, if determinable, their authorship (as with Darryl Zanuck's copy of My Darling Clementine or actor Barry Brown's copy of Daisy Miller); and how identification was made if that information is not on the script itself (as with Ben Hecht's script Legend of Timbuctoo for the film released as Legend of the Lost). The identification section gives basic credits for the released film with which the script is associated year of release; producer, director, and writer(s) of record; and production and/or distribution entities. To establish this information, we first consulted a stan- dard reference work The American Film Institute Catalogs for the 1920s and 1960s, The Film Daily Yearbooks for the 1930s, 1940s, and 1950s, and Screen World for the 1970s. Then we cross checked the information found in these sources against a second source such as the Motion Picture Production Encyclopedias, Who Wrote the Movie?, or a director or performer monograph. When discrepancies turned up, we did additional research (sometimes very extensively) in an effort to resolve them. In the few cases where we were unable to do so, we have so indicated in the entry. Almost all of the scripts are identified on their front covers or title pages. However, since script terminology varied somewhat from decade to decade and studio to studio, a brief descriptive overview is appropriate. Scripts and script materials fall into two categories. In the first are materials related to the making of a film. These range from an early story synopsis of the literary source to a treatment (an extended story outline) to the script itself. At the production stage the script is called a shooting script. It usually goes through various drafts first rough draft, first mimeographed script, final, revised final, second revised final, and so on. The shooting script is often undergoing constant revision even during production, and daily changes are issued suc- cessively on different colored paper (blue, yellow, pink, green) for quick iden- tification on the set. In the second category are script materials prepared from a completed film, or postproduction scripts. The most common of these are dialogue and cutting continuities, which are carefully detailed transcriptions of the film's soundtrack and descriptions of the images, usually in parallel columns, with shot, footage, and frame counts running along the left-hand margin. The continuities were used for copyright registration (in place of depositing the unwieldy 35mm prints themselves), and they provided reference guides to the distribution exchanges when cuts had to be made or footage replaced. Some- times continuities were made with just the dialogue, and other times with just the scene descriptions. Postproduction scripts were also made for other special purposes, such as for the preparation of subtitles on foreign -release prints. Examples of all of these kinds of script materials are found in the university's collection. The unproduced scripts are arranged alphabetically by the titles given on the cover or contents leaves. The entries are in two parts: a description section (format as above), and a section of plot summary and comment. Lengthy plot summaries are provided because there is no other known source of informa- tion for these materials. Comment is provided (when we have the informa- tion) about why the project never materialized (as with the Hecht/MacArthur Trilby script or Carl Sandburg's American Cavalcade} and, in the case of literary adaptations or remakes, how the unproduced script differs from the original (as with King Kong and Huckleberry Finn). Television scripts are listed alphabetically by script title. But in the case of series, the series title is listed first with the episode title following. The entries are as for feature films. In the comment section the network and date of air- ing are provided, along with minimal story information. The form of the entries is, we think, of special significance. Since the adop- tion of Anglo -American Cataloguing Rules, 2nd edition (Chicago: ALA, 1978) there has been considerable discussion about the suitability of these general rules for the special problems presented by script and other types of script-related material. These problems stem from the need to relate scripts and films bibliographically. Films often have various release dates, several titles, unclear authorship, and several "publishers." Therefore, scripts also present cataloging problems. In this catalog we have shown how the Anglo- American Cataloguing Rules, 2nd edition (AACR2) model can be used suc- cessfully to describe scripts. The impact of the idea of standard application of standard rules for machine-based cataloging of film scripts is enormous. All libraries par- ticipating in the large bibliographic databases can enter their descriptions of script materials into these online databases, using machine-acceptable cataloging based on AACR2. The result will be a national union catalog of script holdings composed of readily available cataloging information pro- vided by holding libraries and archives. Those in search of a copy of any par- ticular script will be able to get a list of libraries having a copy of that script. In fact, this is already possible to some extent. However, at present, successful database searches for scripts are limited by inconsistent interpretation of cataloging rules. This catalog offers a model which, if followed, represents a solution to the problem of standard interpretation of standard rules, making possible national access to collections of script materials. Finally, a few words about the index will make the entries in the catalog more accessible. All names in the first paragraph of the description (up to the date of the script) are indexed. Names in the last portion of the entry (after the size of the script) and names in the comments section are usually not in- dexed since they are not names of people involved in the authorship of the script or film. All alternate script titles noted on the scripts are indexed, but alternate film titles are not indexed because they are readily available in other sources. Whenever authors of sources for screenplays or titles of source novels, plays, or short stories are mentioned on the script, they are shown in the en- tries and are indexed. SCRIPTS OF FEATURE FILMS 1. ALL THE PRESIDENT'S MEN la. All the president's men / by Carl Bernstein and Bob Woodward ; screenplay by William Goldman. First draft screenplay. -- 1974 Aug 13. 154 leaves ; 28 cm. Photocopy. Occasional penned notations; dialogue and action; numbered shots. COMMENT: Various underlinings and parentheses around dialogue are found throughout the script. There is a one-page prefatory note by the writer emphasizing the need for an extremely fast pace, partic- ularly in the delivery of the dialogue. Ib. All the president's men / screenplay by William Goldman ; based on the book by Carl Bernstein and Bob Woodward ; [production] Wildwood Enterprises, Inc. 1975 May 10. 159 leaves ; 29 cm. Photocopy - "John Galley" on title page and elsewhere; occasional markings and notations; dialogue and action; numbered shots. Revisions through Sep 22, 1975. COMMENT: The 159 leaves include 123 pages of script revisions dated from 5/15/75 through 9/22/75. Ic. All the president's men / screenplay by William Goldman ; based on the book by Carl Bernstein and Bob Woodward ; Wildwood Enterprises, Inc. 1975Jul 11. 161 leaves ; 29 cm. Photocopy. Occasional notations; copy marked "J. Robards."; dialogue and action; numbered shots. Revisions dated through Jul 28, 1975. COMMENT: Although "J. Robards" is handwritten on the cover of this copy, all the lines of the character Ken Clawson (an uncredited voiceover) are circled. There are revisions from 6/5/75 to 8/15/75 and handwritten cuts and inserts. Id. All the president's men / based on the book by Carl Bernstein and Bob Woodward ; Wildwood Enterprises, Inc. 1975 Oct 17. [ca. 160] leaves ; 29 cm. Photocopy. Dialogue and action; extensive handwritten and typed commentary on same and opposing pages; numbered shots and editing instructions. Includes revisions to 10/3/75. COMMENT: This copy contains revisions from 5/15/75 through 10/3/75. It also contains printing, editing, and sound notes and may have been the script supervisor's copy. 1976 Producer: Walter Coblenz Director: AlanJ. Pakula Screenwriter: William Goldman Wildwood Enterprises Production / Warner Bros. 2. AMERICAN GUERILLA IN THE PHILLIPINES American guerilla in the Phillipines / screenplay by Lamar Trotti. - Revised final. 1945 Aug 16. 133 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots; extensive markings and annotations in pencil throughout. Includes 2 copies of 21 -leaf conference on revised final script of Aug 16, 1945, with Messrs. Zanuck, Trotti, Fritz Lang, Andre Hakim, dated Jan 31, 1950. COMMENT: This was Darryl Zanuck's copy. 1950 Producer: Lamar Trotti Director: Fritz Lang Screenwriter: Lamar Trotti 20th Century-Fox 3. ANGEL Angel / screenplay by Samson Raphaelson ; from the play by Melchior Lengyel ; director-producer, Ernst Lubitsch. 1937 Jan 30. [174] leaves numbered variously by sequence ; 36 cm. Mimeo. -- Two-column format with camera and action on left, dialogue on right; numbered shots and sequences. Includes character list with partial cast. COMMENT: This is Raphaelson's personal bound copy, with his name in gilt on the spine. 1937 Producer: Ernst Lubitsch Director: Ernst Lubitsch Screenwriter: Samson Raphaelson Paramount 4. ANGELS WITH DIRTY FACES Angels with dirty faces / screenplay by John Wexley and Warren Duff ; based on an original by Rowland Brown. Revised final. - 1938Jun22. 160 leaves ; 29 cm. Mimeo. "Mr. Wallis." [= Hal B., Executive Producer] - Dialogue and action; numbered shots; additions to 7/27/38. - Includes quotation on slum children; incomplete cast list. COMMENT: This copy contains 19 blue revision pages from 6/24/38 to 7/27/38. On the cover the title "High Fence" is penciled in above the printed title. A prefatory note reads: ". . . that after all, the fun- damental problem is not building isolated playgrounds for the slum children, but rooting out the evil influences that make for slums . . . destroying the corruption that maintained the physical and moral filth that are inherent in the slums; that the impressionable boys who have such a bitter life to start with . . . are further embittered and en- couraged to crime by the glorified examples they see in high office, flagrantly disobeying the law and flagrantly getting away with it." 1938 Producer: Sam Bischoff Director: Michael Curtiz Screenplay by: John Wexley, Warren Duff Warner Bros. ANIMAL HOUSE See NATIONAL LAMPOON'S ANIMAL HOUSE 5. ANNA CHRISTIE 5a. Anna Christie / play by Eugene O'Neill ; continuity by Frances Marion. First temporary complete. 1929 Mar 20. [109] leaves ; 29 cm. Carbon typescript on onionskin. Numbered scenes; titles and action; "Mr. Mannix" [= Edgar, MGM executive] penciled on cover. - Production #1744. COMMENT: This is a shooting script for a silent film, with intertitles rather than dialogue. Shortly after this script was completed, Irving Thalberg made the decision to make Anna Christie Greta Garbo's first talking picture. See Samuel Mar*, Mayer and Thalberg: The Make-Believe Saints (1975). In this transitional period in the coming of sound, Anna Christie was eventually released in both sound and silent versions. 5b. Anna Christie / by Eugene O'Neill ; scenario by Frances Marion. - 1929 Sep 9. 120 leaves ; 30 cm. Mimeo. Numbered shots; dialogue and action. - "This script is okayed by Mr. Thalberg" penciled on cover; "sound version by Frances Marion" on first leaf. Production #1744. 5c. Anna Christie / by Eugene O'Neill ; scenario by Frances Marion. - 1929 Sep 25. 123 leaves ; 29 cm. Mimeo. Numbered shots; dialogue and action; occasional handwritten notes and marking. According to penciled note on cover, contains revisions dated 10/11/29 and 10/12/29; "Sound version by Frances Marion" on first leaf. Production #1744. COMMENT: This copy contains one individually dated revision page of 10/12/29. Contains occasional dialogue revisions and cuts. 1930 Director: Clarence Brown Titles: Madeleine Ruthven Adaptation: Frances Marion MGM 6. ANNA CHRISTIE (GERMAN VERSION) Anna Christie : English translation / German version from Frank Reicher ; dialogue by W. Hasenclever. 1930 Jul 9. [106] leaves numbered variously by reel ; 30 cm. Mimeo. - "German version by Wfalter] Hasenclever, English translation" on first leaf. Dialogue and action; numbered scenes. COMMENT: A separate German-language version of the 1930 MGM production Anna Christie was made. Both versions starred Garbo, but in the German version Hans Junkermann replaced Charles Bickford as Matt and Salka Viertel replaced Marie Dressier as Marthy. This is a continuity of the German version taken from the screen, with the Ger- man dialogue retranslated into English. 1930 Director: Jacques Feyder Dialogue: W. Hasenclever MGM 7. ANNIE HALL Annie Hall / by Woody Allen and Marshall Brickman. Final draft. - 1976 Aug 2. 120, [6] leaves ; 29 cm. Photocopy. Dialogue and action; numbered shots; omitted shots indicated. Revisions through 8/16/76. Appendix one on 2 leaves titled "Rob sit com cassette"; appendix two on 2 leaves titled "Game show"; "new ending" on 2 leaves. COMMENT: This copy contains two individually dated revision pages of 8/2/76 and six pages of 8/16/76. ^ 1977 Producer: Charles H. Joffe Director: Woody Allen Screenwriters: Woody Allen, Marshall Brickman Jack Rollins-Charles H. Joffe Production / United Artists 8. APOCALYPSE NOW Apocalypse now / original screenplay by John Milius ; inspired by Joseph Conrad's "Heart of darkness" ; this draft by Francis Ford Coppola. - 1975 Dec 3. 153 leaves ; 29 cm. Photoreproduction. Dialogue and action; numbered shots. 1979 Producer: Francis Ford Coppola Director: Francis Ford Coppola Screenwriters: John Milius, Francis Ford Coppola Omni Zoetrope / United Artists 9. ASPHALT JUNGLE, THE The asphalt jungle. - 1949 Oct 12. 136 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots; list of revision dates on inside back cover. Includes memo dated 11/3/49 listing name changes; summary sheet stating the completed script has 131 pages based on 63 lines per page; revisions to 12/6/49. COMMENT: There are 15 pink revision pages dated from 1/25/49 to 12/6/49. 1950 Producer: Arthur Hornblow, Jr. Director: John Huston Screenwriters: Ben Maddow, John Huston MGM 10. BAD AND THE BEAUTIFUL, THE Tribute to a bad man / [by] Charles Schnee ; director, Vincente Minnelli. - 1952 Mar 26. 122 leaves ; 28 cm. Mimeo. Dialogue and action; numbered shots. Includes one leaf from Ralph Wheelright dated Feb 15, 1952, titled "Publicity Title Synopsis"; changes and additions listed on verso of both covers and 1 sheet; includes 2 summary sheets on the total number of changes; two memos from Houseman on character name changes; revisions through 6/2/52. COMMENT: The 122 leaves contain 42 pink revision pages dated from 4/10/52 to 6/2/52. All other pages are individually dated, and name and other changes are shown in headings. 1952 Producer: John Houseman Director: Vincente Minnelli Screenwriter: Charles Schnee MGM 11. BARRY LYNDON New Kubrick project. 1973 Feb 18. Ill leaves ; 30 cm. Photocopy. Dialogue and action; numbered shots. COMMENT: This early draft of Barry Lyndon is identified simply as "New Kubrick Project." The names of the characters are changed sig- nificantly (the protagonist is called "Roderick"), possibly to disguise the nature of this project. 1975 Producer: Stanley Kubrick Director: Stanley Kubrick Screenwriter: Stanley Kubrick Peregrine Films / Warner Bros. 10 12. BEAUTIFUL BLONDE FROM BASHFUL BEND, THE The beautiful blonde from Bashful Bend / a screenplay by Preston Sturges based upon "The lady from Laredo" by Earl Felton. - Shooting final. - 1948 Sep 23. 178, 15 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots. Includes revisions through 9/27/48; added scenes and retakes dated through 1/3/49 on leaves 1-15 following script. COMMENT: There are 18 blue revision pages dated from 9/24/48 to 9/27/48. The blue pages of added scenes and retakes at the end of the script are dated 12/27/48 to 1/3/49. 1949 Producer: Preston Sturges Director: Preston Sturges Screenwriter: Preston Sturges 20th Century-Fox 13. BEYOND THE VALLEY OF THE DOLLS Beyond the valley of the dolls / screenplay by Roger Ebert ; from an original story and treatment by Roger Ebert and Russ Meyer. - First draft. - 1969 Sep 17. 183 leaves ; 29 cm. Mimeo. Dialogue and action; numbered scenes. Consists almost entirely of blue revision leaves dated through 11/12/69. - Includes carbon typescript credits and cast and character lists preceding script. COMMENT: There are 180 individually dated blue revision pages from 1/19/69 to 11/12/69. 1970 Producer: Russ Meyer Director: Russ Meyer Screenwriter: Roger Ebert 20th Century-Fox 14. BHOWANI JUNCTION Bhowani Junction / [screenplay by] Sonya Levien and Ivan Moffat ; director, George Cukor. Complete script. -- 1955 Feb 1. 150 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots; inside cover has list of revision dates; cover typed with "Okayed by Mr. Pandro Berman". Revisions to 4/4/55. Production #1672 11 COMMENT: There are 29 white revision pages dated from 2/2/55 to 3/29/55 and 110 yellow revision pages from 2/11/55 to 4/4/55. 1956 Producer: Pandro S. Herman Director: George Cukor Screenwriters: Sonya Levien, Ivan Moffat MGM 15. BIG KILLING, THE Ready! aim! fire! / story by Grover Jones ; screenplay by Gilbert Pratt and Grover Jones. Final script. 1928 Mar 2. [ca. 90] leaves ; 36 cm. Mimeo. -- Titles and action; numbered scenes. - "Cameraman" penciled on title page. COMMENT: This is a shooting script for a silent film. 1928 Producer: F. Richard Jones Director: F. Richard Jones Scenario: Gilbert Pratt, Frank Butler Paramount 16. BILLY BUDD Billy Budd / by Peter Ustinov. First draft of screenplay. 1961 Mar 21. 123 leaves ; 28 cm. Mimeo. Dialogue and action; numbered scenes; occasional 'markings and notations in pen and pencil. Includes 11 pink mimeo revision sheets dated 5/5/61; "Bobb Webb" in ink on upper right corner of cover. COMMENT: The notations involve name changes, minor dialogue revisions, and so on. Several scenes are crossed out in pencil. 1962 Producer: Peter Ustinov Director: Peter Ustinov Screenwriters: Peter Ustinov, DeWitt Bodeen Anglo-Allied Pictures / Allied Artists 12 17. BLAZING SADDLES Mel Brooks' "Black Bart" : an original screenplay / by Mel Brooks, Richard Pryor, Andrew Bergman, Norman Steinberg, Alan Uger ; based on a story by Andrew Bergman. Final. 1973 Feb 6. 124 leaves ; 29 cm. Photocopy. Dialogue, camera, and action; numbered scenes. - Includes cast and character list dated 1/25/74; includes revision leaves to 2/27/73. COMMENT: There are 31 individually dated revision pages from 2/9/73 to 2/27/73. 1974 Producer: Michael Hertzberg Director: Mel Brooks Screenwriters: Mel Brooks, Norman Steinberg, Andrew Bergman, Richard Pryor, Alan Uger Crossbow / Warner Bros. 18. BOB & CAROL & TED & ALICE Bob & Carol & Ted & Alice / screenplay by Paul Mazursky and Larry Tucker. Final draft. 1968 Sep 5. 139 leaves ; 29 cm. Photocopy. Dialogue and action; numbered shots. Added and revised pages through 10/29/68; prefatory leaf dated Sep 25, 1968: "Please change the name of ESALEN to the INSTITUTE throughout your script". Production #8930. COMMENT: There are 64 revision pages dated from 9/9/68 to 10/29/68. 1969 Producer: Larry Tucker Director: Paul Mazursky Screenwriters: Paul Mazursky, Larry Tucker Columbia 19. BODY AND SOUL Body and soul / original screenplay by Abraham Polonsky. - Final script. - 1947 Jan 13. 119 leaves ; 30 cm. Mimeo. Dialogue and continuity. Numbered shots. - Revisions through 3/13/47. COMMENT: The script is on green and blue paper, with 48 yellow revision pages dated from 1/8/47 to 3/13/47 and three pink revision pages dated 1/29/47. 13 1947 Producer: Bob Roberts Director: Robert Rossen Screenwriter: Abraham Polonsky Enterprise Studios / United Artists 20. BRIGHTON ROCK Brighton Rock / script by Roy Boulting ; from the screenplay by Graham Greene and Terrance Rattigan. Second shooting script. - [c. 1946]. 114 leaves ; 35 cm. Photocopy. Extensive notations and markings in pen throughout; two-column format with camera and action on left, dialogue on right. COMMENT: This is the copy of the script used by Gene Phillips in the preparation of his Graham Greene: The Films of His Fiction (1974). It is extensively annotated by Phillips, especially in regard to changes from book to film. The U.S. release title of the film was Young Scarf ace. 1947 Producer: Roy Boulting Director: John Boulting Screenwriters: Graham Greene, Terence Rattigan ABPC / Pathe 21. BRING ME THE HEAD OF ALFREDO GARCIA Bring me the head of Alfredo Garcia / screenplay by Gordon Dawson and Sam Peckinpah. 1972 Jul 8. 126 leaves ; 28 cm. Photocopy. Camera, dialogue and action. Leaves dated from 6/14/72 to 7/8/72. COMMENT: All pages in this copy are individually dated. 1974 Producer: Martin Baum Director: Sam Peckinpah Screenwriters: Gordon Dawson, Sam Peckinpah United Artists 14 22. BROADWAY MELODY 22a. The Broadway melody / continuity by Sarah Y. Mason. Second temporary complete. 1928 Sep 11. [88] leaves ; 28 cm. Carbon typescript on onionskin. -- Titles and action; numbered scenes. COMMENT: Broadway Melody was released in both silent and sound versions. This is a scenario for a silent version, with intertitles rather than dialogue. 22b. The Broadway melody / story by Edmund Goulding ; continuity by Sarah Y. Mason ; directed by Harry Beaumont. 1928 Sep 18. 88 leaves ; 30 cm. Mimeo. - Titles and action; numbered shots. #392. COMMENT: This is a mimeographed version of the preceding item. While the cover date is Sep 18, 1928, the date on the scenario itself is Sep 11, 1928. 1929 Director: Harry Beaumont Titles: Earl Baldwin Scenario: Sarah Y. Mason Dialogue: Norman Huston, James Gleason MGM 23. BROKEN ARROW Broken arrow / screenplay by Michael Blankfort ; from the novel "Blood brother" by Elliott Arnold. Revised final. 1949 Jun 11. 147 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots; some leaves headed: (Formerly "Warpaint"). Includes revisions and added scenes and retakes through 10/21/49; pronunciation of Indian names. COMMENT: The 147 leaves contain 21 blue revision pages dated from 6/16/49 to 7/26/49, plus four pages of retakes and added scenes of 10/21/49. 1950 Producer: Julian Blaustein Director: Delmer Daves Screenwriter: Michael Blankfort 20th Century-Fox 15 24. BROKEN LULLABY The man I killed / screenplay by Samson Raphaelson and Ernest Vajda ; from the play by Maurice Rostand ; direction, Ernst Lubitsch. First script. 1931 Aug 4. [142] leaves numbered variously by sequence ; 36 cm. Mimeo. - "Broken lullaby" added to title page in pencil. - Numbered shots and sequences; two-column format with camera and action on left, dialogue on right. Includes character list with partial cast; some cast added in pencil. COMMENT: Broken Lullaby is a late title change; in writings on Lubitsch, the film is usually identified under its original title. This was Raphaelson's personal bound copy; his name is stamped in gilt on the cover. 1932 Producer: Ernst Lubitsch Director: Ernst Lubitsch Screenwriters: Samson Raphaelson, Ernest Vajda Paramount 25. BUFFALO BILL Buffalo Bill / an original screenplay by Aeneas MacKenzie, Clements Ripley, and Cecile Kramer. Final Script. 1943 Jul 12. 133 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots. COMMENT: The title page is headed, "In recognition of the valor and devotion of those Indian warriors who are now in the Armed Forces of our nation, Twentieth Century-Fox Studios dedicates to a race that ever fought for freedom this story of its greatest foeman. ..." 1944 Producer: Harry A. Sherman Director: William A. Wellman Screenwriters: Aeneas MacKenzie, Cecile Kramer 20th Century-Fox 26. BUFFALO BILL AND THE INDIANS Indians / screenplay by Robert Alan Aurthur. Final draft. - 1974 May 1. 172 leaves ; 29 cm. Photocopy. -- Dialogue and action; numbered shots. 16 1976 Producer: Robert Altman Director: Robert Altman Screenwriters: Alan Rudolph, Robert Altman Dino DeLaurentiis Corp. / Lion's Gates Films, Inc. / Talent Associates, Norton Simon, Inc. / United Artists CASANOVA See FELLINI'S CASANOVA 27. CATCH-22 Catch-22 / written by Buck Henry. Final revised screenplay. - 1968 Jul 29. 186 leaves ; 29 cm. Photocopy. Dialogue and action; numbered shots. 1970 Producers: John Galley, Martin Ransohoff Director: Mike Nichols Screenwriter: Buck Henry Paramount / Filmways Inc. 28. CHAMPION 28a. Cutting continuity on "Champion". -- 1949 Feb 19. 45 leaves ; 35 cm. Mimeo. Dialogue and action with scene, footage, and frame counts in both margins. 28b. Dialogue continuity on "Champion". -- 1949 Feb 19. 44 leaves ; 35 cm. Mimeo. Sound and dialogue only. 1949 Producer: Stanley Kramer Director: Mark Robson Screenwriter: Carl Foreman Screen Plays Corporation / United Artists 29. CHEYENNE AUTUMN The long flight / screenplay by James R. Webb ; based on "Cheyenne autumn" by Mari Sandoz. Final script. 1963 Aug 1. 153 leaves ; 29 cm. Mimeo. -- The printed title is crossed out and replaced by "Cheyenne autumn" in hand. Includes revisions through 9/19/63; cast and credits sheet dated 3/19/64 with title: Cheyenne autumn; cast list titled "The long flight" on 3 leaves with brief character descriptions, dated 8/1/63. 17 COMMENT: The 153 leaves contain 46 blue revision pages dated from 8/6/63 to 9/19/63. One revision sheet, dated 9/13/63, notes that "an appendix contains Cheyenne equivalents for English dialogue as called for, plus other Cheyenne terms for ad lib," although this appendix does not appear in this copy. 1964 Producer: Bernard Smith Director: John Ford Screenwriter: James R. Webb Ford-Smith Prod. / Warner Bros. 30. CHINATOWN Chinatown / by Robert Towne ; produced by Robert Evans ; directed by Roman Polanski. Second draft. 1973 Sep 7. 152 leaves ; 29 cm. Photoreproduction. Dialogue and action; numbered shots; cover marked "HURLEY" in pen. COMMENT: Two 8x 10 production stills are bound in at the end. 1974 Producer: Robert Evans Director: Roman Polanski Screenwriter: Robert Towne Paramount 31. CIRCUS WORLD Circus world ; alternative title: The magnificent showman / screenplay by Ben Hecht, Julian Halevy, and James Edward Grant ; story by Philip Yordan and Nicholas Ray. Export script (Picture and dialogue spotting continuity). 1964Jul29. [247] leaves ; 33 cm. Mimeo. Column format with scene number and starting footage, dialogue, spot number, start and end footage, and total; pink and green leaves. Includes cover sheet with footage and sound information and cast list sheet; script preceded by 7 leaves dated 7/22/64 titled: Music cue sheet. COMMENT: This is a full dialogue and cutting continuity of the American release version of the film prepared for export purposes. A music cue sheet is included which shows cue or music title, composer, publisher, use, and time. 18 1964 Producer: Sam Bronston Director: Henry Hathaway Screenwriters: Ben Hecht, Julian Halevy, James Edward Grant Bronston-Midway Productions / Paramount 32. CITIZEN KANE American / screenplay by Herman Mankiewicz. First rough draft. - 1940 Apr 16. 269 leaves ; 28 cm. Photocopy. Format varies from full-page to two-column; dialogue and action. COMMENT: This is the first draft of the Citizen Kane script. This copy was furnished by Pauline Kael, whose account of Herman Mankiewicz's role in the scripting was published along with the cut- ting continuity and final shooting script in Citizen Kane Book. 1941 Producer: Orson Welles Director: Orson Welles Screenwriters: Orson Welles, Herman J. Mankiewicz RKO 33. CLOCKWORK ORANGE, A A clockwork orange / screenplay by Stanley Kubrick. Revised final. - 1970 Sep 7. 107 leaves ; 29 cm. Photocopy. Dialogue, action; numbered shots. 1971 Producer: Stanley Kubrick Director: Stanley Kubrick Screenwriter: Stanley Kubrick Polaris-Hawk Film / Warner Bros. 34. CLOSE ENCOUNTERS OF THE THIRD KIND Close encounters of the third kind / by Steven Spielberg. - Revised script. [1976]. 289 leaves ; 29 cm. Photocopy. Occasional markings on original; dialogue and action; numbered shots. Includes revisions through 5/14/76; cover has two-color promotional graphic. COMMENT: This undated copy contains 120 revision pages from 4/26/76 to 5/14/76. 19 1977 Producers: Julia and Michael Phillips Director: Steven Spielberg Screenwriter: Steven Spielberg Columbia 35. CLUNY BROWN 35a. Cluny Brown / screenplay by Samuel Hoffenstein and Betty Reinhardt. First draft continuity. 1945 May 10. 126 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots. 35b. Cluny Brown / screenplay by Samuel Hoffenstein and Elizabeth Reinhardt, based on the novel by Margery Sharp. Continuity and dialogue taken from the screen. 1946 Apr 13. [150] leaves numbered variously by reel ; 30 cm. Mimeo. Two-column format with scene, camera, and action on left, dialogue on right. 9100 feet. 1946 Producer: Ernst Lubitsch Director: Ernst Lubitsch Screenwriters: Samuel Hoffenstein, Elizabeth Reinhardt 20th Century-Fox 36. COMEDIANS, THE The comedians / screenplay by Graham Greene. Final screenplay. 1966 Dec 1. 153 leaves ; 35 cm. Photocopy. Dialogue and action; numbered shots; extensive annotations and markings in pen. Cover signed: Gene D. Phillips. COMMENT: This is the copy of the script used by Gene Phillips in the preparation of his Graham Greene: The Films of His Fiction (1974). It is extensively annotated by Phillips, especially in regard to changes from book to film. 1967 Producer: Peter Glenville Director: Peter Glenville Screenwriter: Graham Greene MGM / Maximillian Productions / Trianon Productions 20 37. COMRADE X Comrade X / [screenplay by] Ben Hecht and Charles Lederer. - Complete script. -- 1940 Aug 29. 152 leaves ; 29 cm. Mimeo. Dialogue and action; numbered scenes; many penciled notes and markings. Includes revisions through 10/30/40; some original leaves bound with changes; change dates and initials listed on cover verso. Cover marked "Gottfried Reinhardt". COMMENT: There are 81 pink revision pages dated from 8/30/40 to 10/30/40, and 14 yellow revision pages from 9/20/40 to 10/17/40. It was apparently this copy which was used to do a thorough and systematic check of accuracy and consistency in the details of the script; there are hundreds of annotations on such things as spelling of proper names, use of personal or professional titles, corrections of quotations, place names and geography, and so on. 1940 Producer: Gottfried Reinhardt Director: King Vidor Screenwriters: Ben Hecht, Charles Lederer MGM 38. CONNECTICUT YANKEE, A 38a. Connecticut yankee in King Arthur's court / adaptation by William Conselman ; dialogue by William Conselman and Malcom Stuart Boylan. 1930 Nov 18. 106 leaves ; 29 cm. Mimeo. Numbered scenes; two-column format with camera and action on left, dialogue on right. COMMENT: A list of technical credits is typed on cover. 38b. A Connecticut yankee / directed by David Butler ; photographed by Ernest Palmer ; edited by Irene Morra. Screen continuity. - [193?]. 99 leaves ; 29 cm. Mimeo. Dialogue and action; reels indicated. Cast and credits leaf precedes script. 8700 feet. 1931 Director: David Butler Screenwriter: William Conselman 20th Century-Fox 21 39. CONVERSATION, THE The conversation / original screenplay by Francis Ford Coppola. - Revised draft in progress. 1972 Nov 13. 120 leaves ; 29 cm. Photocopy. Dialogue and action; numbered shots; occasional markings regarding the character Ann. COMMENT: Apparently this was actress Cindy William's copy of the script. Her name is written on the inside back cover, and her lines (as the character Ann) are marked in various scenes. 1974 Producer: Francis Ford Coppola Director: Francis Ford Coppola Screenwriter: Francis Ford Coppola Paramount 40. CRIME IN THE STREETS Crime in the streets / by Reginald Rose. Complete script. - 1955. 133 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots. 1956 Producer: Vincent M. Fennelly Director: Donald Siegel Screenwriter: Reginald Rose Allied Artists 41. CROSSED SWORDS The prince and the pauper / final screenplay by George Macdonald Fraser ; based on the novel by Mark Twain and an original screenplay by Berta Dominguez D. and Pierre Spengler. - 1976 Oct 12. 109 leaves ; 31 cm. Photoreproduction. Dialogue, camera, and action; numbered scenes; undated blue and pink revision leaves. Includes 1 leaf with notes on script. COMMENT: The 109 leaves contain 30 undated blue revision pages and two undated pink revision pages. Brief notes on historical costumes and scenery are added at the end. 1978 Producer: Pierre Spengler Director: Richard Fleischer Screenwriters: George MacDonald Fraser, Berta Dominguez, Pierre Spengler Warner Bros. 22 42. DAISY MILLER Daisy Miller / screenplay by Frederic Raphael and Peter Bogdanovich ; based on the story by Henry James. 1973 Jul 2. 115 leaves ; 29 cm. Photoreproduction. Numbered shots; dialogue and action. - Undated revisions on blue leaves. Extensive notations in pen and pencil throughout; credits, cast, and characters in pen on verso of title page. COMMENT: There are 66 undated blue revision pages. The exten- sive annotations throughout the script are principally quotations from and about Henry James, and notations on how the role of Winter- bourne (Barry Brown) is to be played. Presumably this was Brown's copy. 1974 Producer: Peter Bogdanovich Director: Peter Bogdanovich Screenwriter: Frederic Raphael Paramount 43. DAMNED, THE The damned ; Gotterdammerung / screenplay by Nicola Badalucco, Enrico Medioli, Luchino Visconti. 1969 Feb 17. 201 leaves ; 29 cm. Photocopy. Dialogue and action; numbered shots. Includes cast and credits sheet. COMMENT: This is an English -language version of the script. Pages 134 to 139 are missing, as noted on the cover sheet. 1969 Producers: Alfredo Levy, Ever Haggiag Director: Luchino Visconti Screenwriters: Nicola Badalucco, Enrico Medioli, Luchino Visconti Warner Bros. 44. DAY THE EARTH STOOD STILL, THE The day the earth stood still / screenplay by Edmund H. North. - Revised final. - 1951 Feb 21. 117 leaves ; 30 cm. Photocopy. Dialogue and action; numbered shots. 1951 Producer: Julian Blaustein Director: Robert Wise Screenwriter: Edmund H. North 20th Century-Fox 23 45. DEATH IN VENICE Death in Venice / screenplay by Luchino Visconti, Nicola Badalucco ; based on the novel by Thomas Mann. Conformed final script. - 1970 Apr 21 ; Conformed 1970 Dec 1. 100 leaves ; 29 cm. Photocopy. Numbered scenes; dialogue and action. Includes credits, cast, and characters dated 2/22/71. COMMENT: This is an English-language version of the shooting script. 1971 Producer: Luchino Visconti Director: Luchino Visconti Screenwriters: Luchino Visconti, Nicola Badalucco Alfa Cinematografico (Rome) / P.E.C.F. Films (Paris) / Warner Bros. 46. DEEP, THE Dead reckoning / screenplay by Orson Welles. [1966?]. 148 leaves ; 31 cm. Photocopy. Dialogue and action in two columns. Revisions dated 4/28/67 and 4/29/67. COMMENT: This is an early draft by Welles of the film which even- tually was titled The Deep. The production starred Jeanne Moreau, Laurence Harvey, and Welles. Willy Kurant was director of photog- raphy and Welles himself directed. It was shot off the Dalmatian coast at Hvar, Yugoslavia, from 1967 to 1969, but was never released. According to Joseph McBride in Orson Welles, Welles based his script on the novel Dead Calm by Charles Williams. Dead Reckoning differs from the synopsis of the film as described by Charles Higham in The Films of Orson Welles and appears to be an earlier draft. For a de- tailed plot summary of this version of the script, see James Naremore, The Magic World of Orson Welles. Unreleased Director: Orson Welles Screenwriter: Orson Welles 47. DELIVERANCE Deliverance / screenplay by James Dickey and John Boorman ; from the novel by James Dickey. Final script. 1971 May 3. 98 leaves ; 28 cm. Photoreproduction. Dialogue and action; numbered scenes. - "Camera" written in upper left corner of cover. 24 1972 Producer: John Boorman Director: John Boorman Screenwriter: James Dickey Warner Bros. 48. DIAL "M" FOR MURDER Dial "M" for murder / screenplay by Frederick Knott as adapted from his play ; directed by Alfred Hitchcock. Final script. 1953 Jul 30. 146 leaves ; 30 cm. Photocopy. Dialogue and action; numbered shots. Includes cast and credits dated 10/9/53; cast of characters with descriptive paragraphs; added scenes and revisions through 9/14/53. COMMENT: The 146 leaves contain 12 revision pages dated from 8/21/53 to 9/14/53. 1954 Producer: Alfred Hitchcock Director: Alfred Hitchcock Screenwriter: Frederick Knott Paramount 49. DOG DAY AFTERNOON Dog day afternoon / by Frank R. Pierson. Second draft. 1974 Jun 10. 132 leaves ; 29 cm. Photocopy. Dialogue and action; hand-numbered scenes. - Includes photocopy of hand-drawn map of bank interior with notes; note concerning name changes and press material. 1975 Producer: Martin Bregman, Martin Elfand Director: Sidney Lumet Screenwriter: Frank Pierson Artists Entertainment Complex, Inc. / Warner Bros. 50. DRAGONWYCK 50a. Dragonwyck / screenplay by Joseph L. Mankiewicz ; from the novel by Anya Seton. Final script. 1945 Feb 8. 119, 17 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots. Includes blue revision leaves dated 4/5/45; retakes and added scenes follow script on leaves dated through 12/11/45 and numbered separately. 25 COMMENT: This copy contains 10 blue revision pages dated 4/5/45 and 17 blue pages of added scenes and retakes from 5/19/45 to 12/11/45. 50b. Dragonwyck / by Anya Seton ; written for the screen and directed by Joseph L. Mankiewicz. [Continuity and dialogue taken from the screen]. [1946]. [161] leaves numbered variously by reel ; 29 cm. Mimeo. Two-column format with scene, camera, and action on left, dialogue on right. 1946 Producer: Darryl F. Zanuck Director: Joseph L. Mankiewicz Screenwriter: Joseph L. Mankiewicz 20th Century-Fox 51. DRIVE, HE SAID Drive, he said. Shooting script. 1970 Feb 10. 96 leaves ; 29 cm. Photocopy. Dialogue and action; numbered shots. Includes revisions through Mar 20, 1970. Production #8978. COMMENT: There are 30 revision pages dated from 2/10/70 to 3/20/70. 1972 Producers: Steve Blauner, Jack Nicholson Director: Jack Nicholson Screenwriters: Jeremy Larner, Jack Nicholson Drive Productions / BBS Pictures / Columbia 52. DRUMS ALONG THE MOHAWK Drums along the Mohawk, a motion picture in 12 small reels / associate producer Raymond Griffith ; directed by John Ford ; screenplay by Lamar Trotti and Sonya Levien ; based on the novel by Walter D. Edmonds. Continuity and dialogue taken from the screen. 1939 Nov 1. 146 leaves ; 29 cm. Mimeo. -- Two-column format with camera and action on left, dialogue on right; "Only copy" handwritten on cover. Includes cast and character list. 9680 feet. 1939 Producer: Darryl F. Zanuck Director: John Ford Screenwriters: Lamar Trotti, Sonya Levien 20th Century-Fox 26 53. EAST OF EDEN East of Eden / screenplay by Paul Osborn. Final script. 1954 May 17. 117 leaves ; 29 cm. Photocopy. Cover title: John Steinbeck's East of Eden. - Dialogue and action; numbered shots. Includes revisions through 8/3/54; cast and credits sheet dated 12/23/54; cast of characters sheet dated 5/18/54; title page contains note: The period of this picture is March to August, 1917. COMMENT: There are 69 revision pages from 5/21/54 to 8/3/54. 1955 Producer: Elia Kazan Director: Elia Kazan Screenwriter: Paul Osborn Warner Bros. 54. FACE IN THE CROWD, A A face in the crowd / story and screenplay by Budd Schulberg ; directed by Elia Kazan. Final screenplay. [1957?]. 134 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots. Includes cast and credits sheet dated 4/5/57. 1957 Producer: Elia Kazan Director: Elia Kazan Screenwriter: Budd Schulberg Newton Productions / Warner Bros. 55. FALLEN IDOL, THE Lost illusions. [1949?]. 110 leaves ; 34 cm. Photocopy. Cover title penned out and replaced by "The fallen idol". Numbered scenes and sequences; frequent penned notations and markings. COMMENT: Annotations commenting upon action and characteri- zation appear throughout. This was the research copy used by Gene Phillips for his book Graham Greene: The Films of His Fiction (1974). 1949 Producer: Carol Reed Director: Carol Reed Screenwriter: Graham Greene London-Reed / British Lion / Selznick Releasing Corp. 27 56. FAMILY PLOT Alfred Hitchcock's Family plot / screenplay by Ernest Lehman ; based on the novel "The rainbird pattern" by Victor Canning. - 1975 Aug 14. 160 leaves ; 29 cm. Photocopy. Dialogue, camera, and action; numbered scenes. - Revisions through 8/14/75. COMMENT: There are 77 individually dated revision pages from 2/27/75 to 8/14/75. 1976 Producer: Alfred Hitchcock Director: Alfred Hitchcock Screenwriter: Ernest Lehman Universal 57. FARMER'S DAUGHTER, THE The farmer's daughter / screenplay by Allen Rivkin and Laura Kerr. - [1947?]. 147 leaves ; 28 cm. Mimeo. Dialogue and action; numbered shots; occasional notations. 1947 Producer: Dore Schary Director: H. C. Potter Screenwriters: Allen Rivkin, Laura Kerr RKO 58. FAT CITY Fat city / by Leonard Gardner. Second draft. 1970 Oct 16. 135 leaves ; 29 cm. Photocopy. Dialogue and action; numbered shots. Bound with two stills. 1972 Producer: Ray Stark Director: John Huston Screenwriter: Leonard Gardner John Huston-Rastar / Columbia 28 59. FEDORA Fedora / screenplay by Billy Wilder and I.A.L. Diamond ; based on a story from "Crowned heads" by Thomas Tryon. Ill leaves ; 29 cm. Photocopy. Dialogue and action. Includes character list; quote from Kipling. 1979 Producer: Billy Wilder Director: Billy Wilder Screenwriter: Billy Wilder, I.A.L. Diamond Geria Film / Bavaria Atelier in association with La Societe Fran^aise du Production / United Artists 60. FELLINI'S CASANOVA Fellini's Casanova / written by Federico Fellini and Bernardino Zapponi. 130 leaves ; 29 cm. Mimeo. Dialogue and action. COMMENT: This is an English-language version of a shooting script. 1977 Producer: Alberto Grimaldi Director: Federico Fellini Screenwriters: Federico Fellini, Bernardino Zapponi Produzioni Europee Associate / Universal 61. FLESH AND THE DEVIL, THE The flesh and the devil / adapted to the screen by Max Marcin ; from the novel "The undying past" by Hermann Sudermann. 1926 Feb 17. [103] leaves ; 30 cm. Typescript on onionskin. Titles typed in red; numbered scenes; occasional handwritten notes and corrections; cover typed "March 5th 1926" and corrected in pencil to read "Feb 17 1926"; "Mr. Thalberg" typed on upper right cover. Production #1570. COMMENT: Scenes 196 through 239 have been renumbered by hand. 1926 Director: Clarence Brown Scenario: Benjamin F. Glazer Titles: Marion Ainslee MGM 29 62. FRANKENSTEIN Frankenstein. Continuity and dialogue taken from the screen. - c!931. [92] leaves numbered variously by reel ; 30 cm. Photocopy. Dialogue, action, number, feet, frames, reels, and description in chart format. Production #310-1. COMMENT: This is a full cutting continuity with footage and frame serial numbers. This version contains a prologue in which Edward Van Sloan (Dr. Waldman in the film) appears and delivers the follow- ing warning to the audience: "How do you do. Mr. Carl Laemmle feels that it would be a little unkind to present this picture without just a word of friendly warning. We are about to unfold the story of Frankenstein ... a man of science, who sought to create a man after his own image without reckoning upon God. It is one of the strangest tales ever told ... it deals with the two great mysteries of creation life and death ... I think it will thrill you ... it may shock you ... it might even . . . horrify you! So then, if you feel that you do not care to subject your nerves to such a strain, now is your chance to . . . well . . . we've warned you!" 1931 Director: James Whale Screenwriters: Sir Garrett Fort, Francis Edward Faragoh, Robert Florey Universal 63. FRENCHMAN'S CREEK Frenchman's Creek / [screenplay by] Talbot Jennings. 1943 May 22. 160 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots. Includes revisions through 7/16/43; other leaves dated 5/22/43 to 7/17/43; character list. COMMENT: There are 16 blue revision pages dated from 6/8/43 to 7/16/43. 1944 Producer: B. G. DeSylva Director: Mitchell Leisen Screenwriter: Talbot Jennings Paramount 30 64. FRIENDLY PERSUASION, THE The friendly persuasion / screenplay byjessamyn West and Robert Wyler ; producer-director, William Wyler ; associate producer, Robert Wyler. Final script. 1955 Aug 18. 163 leaves ; 29 cm. Mimeo. Cover title: William Wyler's production of The friendly persuasion. Dialogue and action; numbered shots; occasional pencil markings and notations regarding Mrs. Hudspeth; cover signed "Marjorie Main" [ = actress who portrayed the widow Hudspeth]. Includes revisions through 10/10/55. 1956 Producer: William Wyler Director: William Wyler Screenwriter: Michael Wilson Allied Artists 65. FROM HERE TO ETERNITY From here to eternity. Picture continuity. c!953. 31 leaves ; 39 cm. Mimeo. Camera and action; numbered scenes; reels indicated. COMMENT: This is a cutting continuity with descriptions of the shot setups and the action as taken from the screen. There are cumulative footage counts at the end of each reel. 1953 Producer: Buddy Adler Director: Fred Zinnemann Screenplay: Daniel Taradash Columbia 66. FRONT PAGE, THE Ben Hecht's and Charles MacArthur's The front page / by Billy Wilder and I.A.L. Diamond. Revised final screenplay. 1974 Mar 15. 156 leaves ; 29 cm. Photoreproduction. Dialogue and action; numbered scenes. - Includes character list with partial cast, typed and penciled. - Production #02071. 1974 Producer: Paul Monash Director: Billy Wilder Screenwriters: Billy Wilder, I.A.L. Diamond Universal 31 67. FULLER BRUSH MAN, THE The Fuller brush man / screenplay by Frank Tashlin, Devery Freeman ; based on a "Saturday Evening Post" story by Roy Huggins. - [1947 Oct]. 151 leaves ; 29 cm. Mimeo. Dialogue and action; numbered scenes, Includes typescript leaf with cast, credits, and running time; revisions through Nov 22, 1947. COMMENT: This draft of the script is undated, but it contains dated revision leaves 12 blue pages from 10/14/47 to 11/22/47, two pink pages of 1/20/47 and 11/13/47, and 48 yellow pages from 10/14/47 to 11/20/47. 1948 Producer: S. Sylvan Simon Director: S. Sylvan Simon Screenwriters: Frank Tashlin, Devery Freeman Columbia 68. GABLE AND LOMBARD Lombard and Gable / screenplay by Barry Sandier. Final screenplay. 1975 Apr 30. 125 leaves ; 28 cm. Photoreproduction. Cover signed "M. James"; dialogue and action; numbered shots. Production #02081. 1976 Producer: Harry Korshak Director: Sidney J. Furie Screenwriter: Barry Sandier Universal 69. GAILY, GAILY Gaily, gaily / screenplay by Abram S. Ginnes ; producer-director, Norman Jewison. Final draft. 1968 May 8. 130, [35] leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots; bound with a lobby card and one still. Script followed by 35 revision leaves dated 7/8/68 and 7/11/68. 1969 Producer: Norman Jewison Director: Norman Jewison Screenwriter: Abram S. Ginnes Mirisch Production Company / United Artists 32 70. GENTLEMAN'S AGREEMENT Gentleman's agreement / screenplay by Moss Hart ; produced by Darryl F. Zanuck ; directed by Elia Kazan. Continuity and dialogue taken from the screen. 1947 Nov 14. [156] leaves numbered variously by reel ; 29 cm. Mimeo. - Two-column format with camera and action on left, dialogue on right. -- 10,652 feet. 1947 Producer: Darryl F. Zanuck Director: Elia Kazan Screenwriter: Moss Hart 20th Century-Fox 71. GENTLEMEN PREFER BLONDES Gentlemen prefer blondes / screenplay by Charles Lederer. - Temporary script. 1952 Sep 25. 140 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots; occasional markings and notations on script and opposing leaves. Includes typewritten character list. COMMENT: This copy contains numerous instructions and changes taken down in shorthand. A carbon typewritten list of characters with brief descriptions ("elderly codger with a youthful gleam in his eye") is inserted before the script. 1953 Producer: Sol C. Siegel Director: Howard Hawks Screenwriter: Charles Lederer 20th Century-Fox 72. GLASS MENAGERIE, THE The glass menagerie / written for the screen by Tennessee Williams ; from his own play ; adaptation by Peter Berneis. Revised final. - 1949 Oct 25. 141 leaves ; 29 cm. Photocopy. Dialogue and action; numbered shots. Includes cast and credits dated 2/24/50; cast of characters with 4 descriptive paragraphs; revisions through 1/10/50. COMMENT: There are 93 revision pages from 10/27/49 to 1/10/50. Despite a notation on the title page indicating that this script is Part I, it is a complete script. 1950 Producer: Jerry Wald, Charles K. Feldman Director: Irving Rapper Screenwriters: Tennessee Williams, Peter Berneis Warner Bros. 73. GODFATHER, THE The godfather / screenplay by Mario Puzo and Francis Ford Coppola. - Third draft. - 1971 Mar 29. 158 leaves ; 28 cm. Photocopy. Dialogue and action; numbered shots. 1972 Producer: Albert S. Ruddy Director: Francis Ford Coppola Screenwriters: Mario Puzo, Francis Ford Coppola Alfran Productions / Paramount 74. GODFATHER, THE. PART II Mario Puzo's The godfather. Part two / screenplay by Francis Ford Coppola. First draft screenplay. 1973 Jul 4. 161 leaves ; 28 cm. Photocopy. Pencil marginalia. Dialogue and action; numbered shots. COMMENT: There is a note from Coppola saying that he had sub- mitted the first 105 pages before finishing the entire draft, and that this segment was to be regarded as a work in progress. However, this copy now has 161 pages, so some of the unfinished screenplay has been added. This version ends with the beginning of the senate hearings. 1974 Producer: Francis Ford Coppola Director: Francis Ford Coppola Screenwriters: Francis Ford Coppola, Mario Puzo Coppola Company Production / Paramount 75. GRAPES OF WRATH, THE The grapes of wrath / by John Steinbeck ; associate producer and screenplay by Nunnally Johnson. [Continuity and dialogue taken from the screen]. 1940. 183 leaves ; 29 cm. Mimeo. Two-column format with camera and action on left and dialogue on right. Includes cast and characters. 1940 Producer: Darryl F. Zanuck Director: John Ford Screenwriter: Nunnally Johnson 20th Century-Fox 76. GREAT McGINTY, THE Down went McGinty; the biography of a bum / by Preston Sturges. - 1939 Nov 13. 150 leaves ; 29 cm. Mimeo. - "Great McGinty 1940" penciled over Down went McGinty. Script comprised of sequences A-J; sequence A dated 10/3/39 at top of leaves and 11/13/39 at bottom; dialogue and action. Includes setting statement. COMMENT: The script is on yellow paper and has the following prefatory note: "Concerning Down Went McGinty: The main action of this picture takes place roughly (and how) between the years 1920 and 1930. The Prologue and Epilogue happen a few years later. The locale is the mythical city of Chicago in the imaginary state of Illinois. Needless to say that fact will not be mentioned." 1940 Producer: Paul Jones Director: Preston Sturges Screenwriter: Preston Sturges Paramount 77. GREED 77a. [Various synopses for "McTeague" retitled "Greed."] a) By Marjorie Dudley on novel "McTeague" by Frank Norris. 1920 Sep 23. 2 leaves ; 28 cm. Mimeo. b) "Greed" continuity synopsis / by A.D.G. Miller. - 1923 Apr 14. - 27 leaves ; 28 cm. - Mimeo. c) Title synopsis, "McTeague" / by E. J. Meagher. 1923 Jan 20. - 1 leaf ; 33 cm. - Mimeo. COMMENT: A script edition of the original uncut version of Greed, based on von Stroheim's personal copy, was published by Joel Finler in 1972. The first two scripts following are continuities of in- termediate versions between von Stroheim's original 42-reel cut and the final 10-reel release version. 77b. Greed. - Cutting continuity #179. - 1924 Jan 24. [ca. 125 leaves] ; 28 cm. Carbon typescript on onionskin. Cover: "Miss Mathis" version, film editor Aubrey Scotto. -- Titles and action. 35 COMMENT: The cover lists Scotto as the film's editor, although he did not receive screen credit, and carries the handwritten note, "Mr. Lehr's files." This version is 13 reels long. 77c. Greed. - Temporary cutting continuity. 1924 Mar 24. [ca. 200 leaves] ; 28 cm. Carbon typescript on onionskin. Cover: Temporary cutting continuity and serial no.'s on "Greed". Action and titles listed with numbers; occasional pencil markings and notations. COMMENT: Besides shot descriptions and intertitles, this continuity contains serial numbers for all the shots, to indicate where the footage can be located. It is 25 reels long. 77d. Greed / screen adaptation and scenario by June Mathis and Erich von Stroheim. Silent cutting continuity. 1924 Nov 21. [90] leaves ; 28 cm. Mimeo. Column format shows scene, title, color, feet, and description; reel 7 page 1 is carbon typescript on onionskin. COMMENT: This is a cutting and title continuity, with footage counts and color tinting instructions for the 10-reel version. 1925 Director: Erich von Stroheim Adaptation/scenario: Erich von Stroheim Titles: June Mathis MGM 78. GUNFIGHTER, THE The gunfighter / original screenplay by William Bowers and William Sellers. Revised final. 1949 Aug 31. 132 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots. Revisions through 10/4/49; retake dated 11/16/49. COMMENT: There are nine blue revision pages dated 9/9/49 and 10/4/49 and one blue page of retakes dated 11/16/49. 1950 Producer: Nunnally Johnson Director: Henry King Screenwriters: William Bowers, William Sellers 20th Century-Fox 36 79. HAMLET Hamlet / produced and directed by Laurence Olivier ; a Two Cities production. Postproduction script. 1948 May 11. 181 leaves ; 29 cm. Mimeo. Shots, footage, frames, dialogue, action, and camera; reels indicated. Includes character list, footage and frames per reel, music listing for each reel. 1948 Producer: Laurence Olivier Director: Laurence Olivier Screenwriters: Laurence Olivier, Alan Dent Two Cities Films / General Film Distributors (England) / Universal- International (USA) 80. HARVEY Harvey / screenplay by Robert Carson. Revised first draft continuity. 1949 Jul 18. 124 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots; occasional pencil markings; cover signed in ink: Fred Knoth. Includes revisions dated 7/21/49. COMMENT: There are 39 blue revision pages. 1951 Producer: John Beck Director: Henry Roster Screenwriters: Mary C. Chase, Oscar Brodney Universal -International 81. HE WHO GETS SLAPPED He who gets slapped / from the play by Leonid Andreyev ; scenario by Carey Wilson. - 1924 May 31. 80 leaves ; 29 cm. Mimeo. Numbered shots; titles and action. Contains notes concerning layout diagram of circus. Production #1480. COMMENT: This shooting script contains the following prefatory notes: "All titles are temporary." "The study of Mr. Seastrom's diagram of the lay-out of the permanent European circus may be ad- visable in order to understand the movements of the various characters around the circus." 37 1924 Producer: Louis B. Mayer Director: Victor Seastrom Adaptation: Carey Wilson, Victor Seastrom MGM 82. HEART IS A LONELY HUNTER, THE The heart is a lonely hunter / screenplay by Thomas C. Ryan ; from the novel by Carson McCullers. Revised final. 1967 Sep 21. 138 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots. 1968 Producers: Thomas C. Ryan, Marc Merson Director: Robert Ellis Miller Screenwriter: Thomas C. Ryan Brownstone and TCR Productions / Warner Bros. -Seven Arts 83. HEAVEN CAN WAIT Heaven can wait / screenplay by Samson Raphaelson ; suggested by Birthday by L. Bus-Fekete ; directed by Ernst Lubitsch. [1942?]. 152 leaves ; 29 cm. Mimeo, with typewritten title page and first leaf. Dialogue and action; numbered shots. Includes revisions dated 1/20/43 and 1/22/43. COMMENT: Although the script is undated, the eight blue revision pages are dated. This was Samson Raphaelson's personal bound copy; his name is stamped in gilt on the cover. 1943 Producer: Ernst Lubitsch Director: Ernst Lubitsch Screenwriter: Samson Raphaelson 20th Century-Fox 84. HIGH ANXIETY High anxiety / written by Mel Brooks, Ron Clark, Rudy DeLuca, Barry Levinson ; produced and directed by Mel Brooks. 1977 Apr 5. 121 leaves ; 29 cm. Photocopy. Cover title: Mel Brooks in High anxiety. - Dialogue, camera, and action; numbered shots; illustrated cover. - Includes revisions dated 4/18/77; includes note regarding character name change. COMMENT: There are seven revision pages. 38 1977 Producer: Mel Brooks Director: Mel Brooks Screenwriters: Mel Brooks, Ron Clark, Rudy DeLuca, Barry Levinson A Crossbow Production / 20th Century-Fox 85. HOLD BACK THE DAWN Hold back the dawn. - 1941 Feb 7. 133 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots; occasional markings. Includes revisions to 2/18/41. COMMENT: There are seven blue revision pages dated from 2/15/41 to 2/18/41. There are editing marks entered in pencil in several scenes. 1941 Producer: Arthur Hornblow, Jr. Director: Mitchell Leisen Screenwriters: Charles Brackett, Billy Wilder Paramount 86. HOW GREEN WAS MY VALLEY 86a. How green was my valley / screenplay by Philip Dunne. Revised final. -- 1940 Dec 14. 174 leaves ; 29 cm. Mimeo. Extensive pencil markings, notations, and commentary throughout; two-column format with dialogue on right, camera and action on left; cover marked "D.Z. Conference". COMMENT: The following is handwritten on the title page: "We miss one great love scene between Grifih [i.e., Gruffyd] and Ango hard [i.e. , Angharad] after she comes back. Why go into scandal Where does it lead a new unfinished issue in the last reel. big moment they will go away the realization it can't be part scene with boy and Griffith packing whistle she comes to mind, his regarding 153 Last reel is all wrong " Numerous additional an- notations throughout the script criticize action and characters and suggest editing changes and scene cuts. The initials "D.Z." appear on the cover in the same handwriting, suggesting that the annotations are Darryl Zanuck's. 39 86b. How green was my valley / screenplay by Philip Dunne ; based on the novel by Richard Llewellyn. Continuity and dialogue taken from the screen. 1941 Oct 22. [173] leaves numbered variously by reel ; 29 cm. Carbon typescript on onionskin. - Two-column format with camera and action on left, dialogue on right. Cast and character list follows production credits. 10,730 feet. 1941 Producer: Darryl F. Zanuck Director: John Ford Screenwriter: Philip Dunne 20th Century-Fox 87. I WAS A MALE WAR BRIDE I was a male war bride. Shooting final. 1949 Feb 9. 160 leaves ; 29 cm. Mimeo. Frequent markings; dialogue and action; numbered shots. revisions through 1/25/49. COMMENT: There are nine blue revision pages dated from 1/20/49 to 1/25/49. Many of the scenes are crossed out on the original mimeograph stencil. 1949 Producer: Sol C. Siegel Director: Howard Hawks Screenwriters: Charles Lederer, Leonard Spigelgass, Hagar Wilde 20th Century-Fox 88. ICEMAN COMETH, THE The iceman cometh / by Eugene O'Neill ; adapted for the American Film Theatre by Thomas Quinn Curtiss. 1972 Nov 9. 208 leaves ; 29 cm. Photoreproduction. Dialogue and action; numbered scenes. - Includes staff and crew list, setting description, character descriptions, and revisions through 1/15/73. COMMENT: There are 46 blue revision pages of 12/19/72, 17 pink revision pages of 1/2/73, 1/3/73, and 1/4/73, and 10 yellow revision pages of 1/15/73. A one-page description of the setting and eight pages of character descriptions precede the script. A complete staff and crew list with home phone numbers dated 1/9/73 is inserted at the beginning. 40 1973 Producer: Ely A. Landau Director: John Frankenheimer Screenwriter: Thomas Quinn Curtiss American Film Theatre 89. IF I WERE KING If I were king. - 1938 May 7. [166] leaves numbered variously by sequence ; 29 cm. Photocopy. Dialogue and action; numbered sequence and shots. Includes character list and partial cast. Copied Oct 22, 1953. 1938 Producer: Frank Lloyd Director: Frank Lloyd Screenwriter: Preston Sturges Paramount 90. IMAGES Images / by Robert Altman. First draft. [1972?]. 124 leaves ; 29 cm. Photocopy. Notation on original on p. 108; dialogue and action; numbered shots. 1972 Producer: Tommy Thompson Director: Robert Altman Screenwriter: Robert Altman Lion's Gate Hemdale Group Production / Columbia 91. INDIAN FIGHTER, THE 91 a. The Indian fighter / screenplay by Frank Davis and Ben Hecht ; original story by Ben Kadish. Superimposing instructions, action, and English master dialogue titles. 1955 Dec. 59 leaves ; 33 cm. Mimeo. Column format with fade-in, fade-out footage, shot number, dialogue, and action. Includes instructions for laboratories and translators, and statement of tides. Exhibition footage: 7920 feet plus 7 frames; running time: 88 minutes. COMMENT: This is a guide for the preparation of foreign subtitled versions of the film with a list of dialogue to be translated (as edited and condensed where necessary) and instructions for the placement and duration of the titles. 41 91b. The Indian fighter. Dialogue continuity. 1955 Oct 28. 28 leaves ; 33 cm. Mimeo. Compiled by Bea Kent. Cover title: Dialogue continuity on "The Indian fighter". Dialogue only. COMMENT: This is a record of the film's dialogue. 91c. The Indian fighter / screenplay by Frank Davis and Ben Hecht ; original story by Ben Kadish. Cutting continuity. 1955 Oct 29. 45 leaves ; 33 cm. Mimeo. Compiled by Bea Kent. Cover title: Cutting continuity on "The Indian fighter". Column format includes code number, scene number, action, frame, feet, and total. Exhibition footage: 7920 feet plus 13 frames. COMMENT: This is a full cutting continuity with frame and footage counts. 1955 Producer: William Schorr Director: Andre de Toth Screenwriters: Frank Davis, Ben Hecht United Artists 92. JANE EYRE Jane Eyre. Dialogue-title continuity. 1943 Dec 21. 101 leaves ; 35 cm. Mimeo. Chart format with shot number, start, end, and total footage per shot; complete dialogue, title; occasional pencil notations and markings; signed illegibly. Includes character list with brief descriptions and a plot synopsis. COMMENT: This is a full dialogue and cutting continuity with footage and frame serial numbers and subtitling instructions for the preparation of foreign language versions. 1944 Producer: William Goetz Director: Robert Stevenson Screenwriters: Aldous Huxley, Robert Stevenson, John Houseman 20th Century-Fox 42 93. JAZZ SINGER, THE (1927) The jazz singer / by Alfred A. Cohn ; from the stage play by Samson Raphaelson. Adaptation and continuity ; final. 1927. [ca. 100] leaves ; 29 cm. Photocopy. -- Titles and action; numbered scenes and titles. - Script preceded by 1 photocopied leaf dated July 3, 1964, regarding dialogue on reel 5; includes cast and credits leaf. COMMENT: Only the year appears on the script itself, but studio records indicate that Cohn was assigned to the project on March 14, 1927, and that Jolson had read a completed script by mid-June. Brief general instructions for the use of Vitaphone synchronized sound ap- pear in the appropriate places in the script, but there is no dialogue. There is one page attached, a Warner Bros, interoffice memo to Bill Schaefer from DeLeon Anthony containing a transcription of the lyrics and dialogue of Jolson's "Blue Skies" sequence from the com- pleted film. 1927 Producers: Sam and Jack Warner Director: Alan Crosland Scenario: Alfred Cohn Titles: Jack Jarmuth Warner Bros. 94. JAZZ SINGER, THE (1980) 94a. The jazz singer / from Herbert Baker. [1979]. 127 leaves ; 28 cm. Photoreproduction. Dialogue and action. 94b. The jazz singer. - [1979]. 132 leaves ; 28 cm. Photoreproduction. Dialogue and action. COMMENT: These are copies of the script sent for reading to Robert Carringer by the film's executive producer. The first was received in June 1979; the second was received in November 1979. Baker, Stephen Foreman, and Arthur Laurents all took more than one turn each on the development of the script. 1980 Producer: Jerry Leider Director: Richard Fleischer Screenwriter: Herbert Baker Adaptation: Stephen H. Foreman EMI Films / Associated Film Distribution 43 95. JOHNNY GUITAR Johnny Guitar / screenplay deluxe by Roy Chanslor. First draft. - 1953 Jun 10. 117 leaves ; 34 cm. Mimeo. Dialogue and action; numbered shots. Includes cast of characters with brief descriptions on 2 leaves preceding script. - Production #1964. COMMENT: Roy Chanslor, author of the source novel, did not receive a screenwriting credit for this first draft adaptation. 1954 Producer: Herbert J. Yates Director: Nicholas Ray Screenwriter: Philip Yordan Republic 96. JUNIOR BONNER Junior Bonner / screenplay byjeb Rosebrook. First draft. - 1971 Mar 15. 116 leaves ; 30 cm. Photocopy. Numbered shots; dialogue and action; title page: with revisions 3/23/71. Includes revisions dated 4/23/71. COMMENT: There are 17 revision pages dated 4/23/71. 1972 Producer: Joe Wizan Director: Sam Peckinpah Screenwriter: Jeb Rosebrook Solar Films Productions for ABC Pictures / Cinerama Releasing Corp. 97. KANSAS CITY BOMBER Kansas City Bomber / screenplay by Thomas Rickman ; from an original idea by Barry Sandier. [197?]. 113 leaves ; 29 cm. Photoreproduction. "Big Bertha" handwritten under printed cover title. Dialogue and action; numbered shots. COMMENT: This was screenwriter Thomas Rickman's personal copy of the script. Big Bertha was an early working title for the project. 1972 Producer: Marty Elfand Director: Jerrold Freedman Screenwriters: Thomas Rickman, Calvin Clements MGM 44 98. KEY LARGO Key Largo / screenplay by Richard Brooks and John Huston ; from the play by Maxwell Anderson. Revised final. 1947 Dec 16. 116 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots; occasional markings. Includes cast of characters, cast and credits dated 5/19/48, one leaf titled "picture changes for file copies," revisions through 3/19/48. COMMENT: There are 23 pink revision pages from 12/17/47 to 3/19/48. The last three white script pages have been crossed out, and the final pink sheet of picture changes has been added. Included are two pages of cast and credits with this note: "Please destroy previously issued cast and credits, 5/19/48." 1948 Producer: Jerry Wald Director: John Huston Screenwriters: Richard Brooks, John Huston Warner Bros. 99. KING OF MARVIN GARDENS The philosopher king / [by] Jacob Brackman. First draft. - 1971 Sep 22. 126 leaves ; 29 cm. Photocopy. -- Title page title noted as tentative; release title in pencil. Dialogue and action; numbered shots; frequent markings. - Includes revisions through 2/4/72; two-page character list with brief descriptions. Production #8239. COMMENT: There are 73 individually dated revision pages from 12/17/71 to 2/4/72. 1972 Producer: Bob Rafelson Director: Bob Rafelson Screenwriter: Jacob Brackman BBS Productions / Columbia [00. KISS ME, STUPID Kiss me, stupid / screenplay by Billy Wilder and I.A.L. Diamond. - [1964]. 141, 13 leaves ; 29 cm. Mimeo? Dialogue and action; numbered shots; frequent markings; incomplete script. Includes revisions dated Mar 16, 1964; character list with partial cast; script followed by shooting schedule dated Mar 2, 1964. - Production #6303. 45 COMMENT: This undated copy contains 14 individually dated blue revision pages of 3/16/64. It is incomplete, and on the last page, there is a note indicating a "final sequence to come." A 13-page shooting schedule is inserted at the end. Its format gives camera date and scene, description of set and location, cast, sequence, location or studio, and night or day. There are markings and annotations throughout, most dealing with property matters ("Bags for Dino, suit- case for Zelda"). 1964 Producer: Billy Wilder Director: Billy Wilder Screenwriters: Billy Wilder, I.A.L. Diamond Phalanx Productions 101. LAST PICTURE SHOW, THE The last picture show / screenplay by Larry McMurtry and Peter Bogdanovich ; from the novel by Larry McMurtry. Final draft. - 1970 Oct 2. 118 leaves ; 29 cm. Photocopy. Dialogue and action; numbered shots; occasional markings throughout. Includes revisions through 11/14/70; 3 leaves of character descriptions. COMMENT: There are 26 revision pages dated 1/6/70 or 11/14/70. 1971 Producer: Stephen J. Friedman Director: Peter Bogdanovich Screenwriters: Larry McMurtry and Peter Bogdanovich BBS Productions / Columbia 102. LAST REMAKE OF BEAU GESTE, THE The last remake of Beau Geste / original screenplay by Marty Feldman and C.J. Allen ; story by Marty Feldman and Sam Bobrick. - 1976 Jun 25. 139 leaves ; 29 cm. Photoreproduction. Dialogue and action; numbered shots. - Production #00343. 1977 Producer: William S. Gilmore, Jr. Director: Marty Feldman Screenwriters: Marty Feldman, Chris Allen Universal 46 103. LAST TYCOON, THE The last tycoon / a screenplay by Harold Pinter ; based on the novel by F. Scott Fitzgerald. - 1974 Nov 11. 124 leaves ; 37 cm. Photocopy. Dialogue and action; numbered shots. 1976 Producer: Sam Spiegel Director: Elia Kazan Screenwriter: Harold Pinter Paramount 104. LATE GEORGE APLEY, THE The late George Apley / screenplay by Philip Dunne ; from the play by John P. Marquand and George S. Kaufman ; based on the novel by John P. Marquand. Continuity and dialogue taken from the screen. 1947 Jan 16. [144] leaves numbered variously by reel ; 29 cm. Mimeo. -- Two-column format with camera and action on left, dialogue on right. 1947 Producer: Fred Kohlmar Director: Joseph L. Mankiewicz Screenwriter: Philip Dunne 20th Century-Fox 105. LAURA Laura / screenplay by Jay Dratler. First draft continuity. - 1943 Oct 30. 127 leaves ; 30 cm. Mimeo. Cover title: L'aura. Dialogue and action; numbered shots. 1944 Producer: Otto Preminger Director: Otto Preminger Screenwriters: Jay Dratler, Samuel Hoffenstein, Betty Reinhardt 20th Century-Fox 106. LEGEND OF THE LOST Legend of Timbuctoo / screenplay by Ben Hecht. [1956?]. 154 leaves ; 28 cm. Mimeo. Cover title lined out and replaced in pencil by: The lost legend. Dialogue and action; numbered shots. 47 COMMENT: Internal evidence indicates this is an early script of the 1957 Hathaway film. 1957 Producer: Henry Hathaway Director: Henry Hathaway Screenwriters: Ben Hecht, Robert Presnell, Jr. Batjac Productions / United Artists 107. LETTER, THE 107a. The letter / screenplay by Howard Koch ; directed by William Wyler. - Final, part 1. - 1940 May 15. 124 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots. Character list precedes script. Appears to be a complete script. 107b. The letter / screenplay by Howard Koch ; directed by William Wyler. - Final, part 1. - 1940 May 15. 124 leaves ; 30 cm. Mimeo. Dialogue and action; numbered shots. Includes revisions through May 27, 1940; character list precedes script. - Appears to be a complete script. 1940 Producer: Sources vary Director: William Wyler Screenwriter: Howard Koch Warner Bros. 108. LIFE OF EMILE ZOLA, THE The story of Emile Zola / screenplay by Norman Reilly Raine, and Heinz Herald, and Geza Herczeg ; original story by Heinz Herald and Geza Herczeg ; directed by William Dieterle ; executive producer Hal Wallis ; associate producer Henry Blanke. Revised final. 1937 Mar 16. 159 leaves ; 29 cm. Mimeo. Cover title: Zola. Crossed out and replaced by penciled "Truth is on the march." Cover sheet title: The life of Emile Zola. - Dialogue and action; numbered shots; "Henry Blanke" handwritten on cover. Includes quotation sheet: "It takes five centuries to produce a Joan of Arc or a Zola." Mark Twain; mimeo credit sheet with typewritten additions dated 10/2/37; bits list. COMMENT: The prefatory leaf containing the release title is dated 3/16/37. The cover contains the note: SAVE THIS COPY ONLY GOOD ONE. 48 1937 Producer: Hal B. Wallis Director: William Dieterle Screenwriters: Norman Reilly Raine, Heinz Herald, Geza Herczeg Warner Bros. 109. LIFEBOAT Lifeboat / screenplay by Jo Swerling. Revised final. 1943 Jul 29. 162 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots. Includes revisions through 10/7/43. COMMENT: There are 34 green revision pages dated from 8/4/43 to 10/7/43. 1944 Producer: Kenneth Macgowan Director: Alfred Hitchcock Screenwriter: Jo Swerling 20th Century-Fox 110. LITTLE WOMEN Louisa M. Alcott's Little women / screenplay by Andrew Solt ; produced by David O. Selznick ; directed by Mervyn LeRoy. Third draft script. 1946 Sep 10. 176 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots; occasional pencil markings and notations. Bound with: 1) Little women, seasons / from Mervyn LeRoy. 1946 Sep 23. - 3 leaves. Mimeo. Precedes main script. 2) Little women, physical descriptions and characterizations / compiled from novel [by] Muriel Elwood. 1st run. 1946 Apr 2. - 30 leaves. Mimeo. Preceded by typed cover sheet. - Contains page references to novel. 3) Little women, background atmosphere research. [1946?]. - [15] leaves. Carbon typescript with typed additions. 1949 Producer: Mervyn LeRoy Director: Mervyn LeRoy Screenwriters: Andrew Solt, Sarah Y. Mason, Victor Heerman MGM 49 111. LOLITA Lolita / screenplay by Vladimir Nabokov ; based on his novel "Lolita." - American version, dialogue cutting continuity. - Printed in England ; reprinted in USA 1962 May 3. [146] leaves numbered variously by reel ; 29 cm. Photocopy. Cover title: "Lolita" release script. Projection footage and running time indicated before script; five-column format with scene, foot, frames, action, sound. 1962 Producer: James B. Harris Director: Stanley Kubrick Screenwriter: Vladimir Nabokov Seven Arts Productions / A. A. Productions / Anya-Transworld Pictures / MGM 112. LONGEST DAY, THE The longest day / by Cornelius Ryan. Second revised screenplay. - 1961 Aug 31. 219 leaves ; 29 cm. Mimeo? Dialogue and action; numbered shots. 1962 Producer: Darry F. Zanuck Director: American exteriors Andrew Marton British episodes Ken Annakin German episodes Bernhard Wicki Ste. Mere Eglise episodes Gerd Oswald Screenwriter: Cornelius Ryan Additional episodes: Romain Gary, James Jones, David Pursall, Jack Seddon Darryl F. Zanuck Productions / 20th Century-Fox 113. LOVE IN THE AFTERNOON Love in the afternoon / [screenplay by] Billy Wilder and I.A.L. Diamond. [1956]. 156 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots. Includes character list with partial cast; bound with 2 stills. 1957 Producer: Billy Wilder Director: Billy Wilder Screenwriter: Billy Wilder, I.A.L. Diamond Allied Artists 50 114. LOVES OF EDGAR ALLAN POE, THE The loves of Edgar Allen Poe / screenplay by Samuel Hoffenstein and Tom Reed ; additional dialogue by Arthur Caesar. Continuity and dialogue taken from the screen. -- 1942 Jun 30. [104] leaves numbered variously by reel ; 29 cm. Mimeo. Two-column format with scene, camera, and action on left, dialogue on right. Cast and character list. 6021 feet. 1942 Producer: Bryan Foy Director: Harry Lachman Screenwriters: Samuel Hoffenstein, Tom Reed, Arthur Caesar 20th Century-Fox 115. McCABE AND MRS. MILLER The Presbyterian church wager / screenplay by Robert Altman ; based on the novel "McCabe" by Edmund Naughton. 1971 Jan 19. 120 leaves ; 29 cm. Photocopy. Dialogue, camera, action; numbered scenes. - Includes cast and character list, dated 4/28/71. 1971 Producers: David Foster, Mitchell Bromer Director: Robert Altman Screenwriters: Robert Altman, Brian McKay Robert Altman Prod. / David Foster Prod. / Warner Bros. MAN I KILLED, THE See BROKEN LULLABY 116. MARGIN FOR ERROR 116a. Margin for error / screenplay by Lillie Hayward. Final script. - 1942 Sep 26. 137 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots. Includes revisions through 11/12/42. COMMENT: There are 48 blue revision pages from 10/5/42 to 11/12/42. 116b. Margin for error / screenplay by Lillie Hayward ; from the New York stage success by Clare Boothe. Continuity and dialogue taken from the screen. 1943 Jan 8. [139] leaves numbered variously by reel ; 29 cm. Mimeo. -- Two-column format with action and camera on left, dialogue on right. 6691 feet. 51 1943 Producer: Ralph Dietrich Director: Otto Preminger Screenwriter: Lillie Hayward 20th Century-Fox 117. MARTY Marty. - [1954?]. 90 leaves ; 28 cm. Mimeo. Dialogue and action; numbered shots. Contains numbered scenes marked "omitted" and some revisions not on separate sheets dated through 11/19/54. COMMENT: This is a revised shooting script. The only dates are for the occasional revisions, which are typed into the text. 1955 Producer: Harold Hecht Director: Delbert Mann Screenwriter: Paddy Chayefsky United Artists 118. M*A*S*H M*A*S*H / screenplay by Ring Lardner, Jr. ; from the novel by Richard Hooker. Revised first draft screenplay. 1968 Dec 11. 142 leaves ; 29 cm. Mimeo. Dialogue and action; numbered scenes. 1970 Producer: Ingo Preminger Director: Robert Altman Screenwriter: Ring Lardner, Jr. Aspen Productions / 20th Century-Fox 119. MEANEST MAN IN THE WORLD, THE 119a. The meanest man in the world. Revised final. 1942 Jul 16. 123, [82] leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots. Includes revisions through 8/27/42; added scenes and retakes dated through 11/4/42. COMMENT: There are nine blue revision pages dated from 7/24/42 to 8/27/42 and 82 pages of added scenes and retakes dated from 10/14/42 to 11/4/42. 119b. The meanest man in the world. 1943 Apr 23. 110 leaves ; 35 cm. Mimeo. Chart format with shot number, start, end, and total footage per shot, complete dialogue, master title; occasional notations and corrections in footage numbers. Includes summary of titles by reel; character sketches and synopsis precede the script. COMMENT: This is a full dialogue and cutting continuity with foot- age and frame serial numbers and subtitling instructions for the prep- aration of foreign language versions. 1943 Producer: William Perlberg Director: Sidney Lanfield Screenwriters: George Seaton, Allan House 20th Century-Fox 120. MERRILY WE GO TO HELL Merrily we go to hell / screenplay by Edwin Justus Mayer ; from the novel "I, Jerry, take thee, Joan" by Cleo Lucas ; director, Dorothy Arzner. Final script. 1932 Apr 9. [151] leaves ; 38 cm. Mimeo. Numbered shots; two-column format with camera and action on left, dialogue on right. Includes cast and character list. COMMENT: This copy of the final shooting script contains carefully detailed shot descriptions and notations of the music and sound effects. 1932 Director: Dorothy Arzner Screenwriter: Edwin Justus Mayer Paramount 121. MERRY WIDOW, THE (1925) 121 a. The merry widow / screen adaptation by Erich von Stroheim. - 1924Jun 28. [ca. 153] leaves ; 28 cm. Carbon typescript on onionskin. COMMENT: This is a carbon copy of the script. This note is hand- written on the cover: "This script made in rush for Miss O'[M]alley on June 28 -1924 -returned to us by her on May 6, 1926. -E.W." 121b. The merry widow / by Franz Lehar ; continuity by Erich von Stroheim. 1924 Sep 18. [258] leaves ; 28 cm. Carbon typescript on onionskin. Numbered scenes. 53 121c. The merry widow / screenplay by Erich von Stroheim and Benjamin Glaser. 1924 Oct 7. ca. 180 leaves ; 28 cm. Mimeo. Numbered scenes. COMMENT: One mimeo leaf, for scenes 227-230, is replaced by a typewritten leaf. 1925 Director: Erich von Stroheim Adaptation and scenario: Erich von Stroheim, Benjamin Glazer Titles: Marion Ainslee MGM 122. MERRY WIDOW, THE (1934) 122a. The merry widow / screenplay by Ernest Vajda and Samson Raphaelson ; based on the operetta by Franz Lehar ; directed by Ernst Lubitsch. -- 1934 Feb 28. 102 leaves ; 30 cm. Mimeo. Numbered shots and sequences; dialogue and action. COMMENT: This is an incomplete copy of the script, ending in the middle of the scene at the Embassy Ball when the ambassador receives the telegram from the king. 122b. The merry widow / screenplay by Ernest Vajda and Samson Raphaelson ; based on the operetta by Franz Lehar ; directed by Ernst Lubitsch. - 1934 Mar 24. 147 leaves ; 29 cm. Mimeo. Numbered shots and sequences; dialogue and action. COMMENT: This complete copy contains 44 new pages beyond the ending of item 122a, and adds the song lyrics. This was screenwriter Raphaelson's personal bound copy; his name is stamped in gilt on the cover. 1934 Producer: Ernst Lubitsch Director: Ernst Lubitsch Screenwriters: Ernest Vajda, Samson Raphaelson MGM 123. MIDNIGHT COWBOY Midnight cowboy / screenplay by Waldo Salt ; from the novel by James Leo Herlihy ; producer, Jerome Hellman ; director, John Schlesinger. - [1969]. 113 leaves ; 29 cm. Photocopy. Dialogue and action. 54 COMMENT: This copy was provided for educational purposes by the Writers Guild of America, West. 1969 Producer: Jerome Hellman Director: John Schlesinger Screenwriter: Waldo Salt Jerome Hellman Prod. / United Artists 124. MISFITS, THE 124a. Cutting continuity on The misfits. 1961 Jan 10. 61 leaves ; 35 cm. Mimeo. Camera and action; reels, footage, frame, and scene numbers shown in margins. 11,207 feet, 12 frames; 124 minutes 32 seconds. 124b. The misfits / screenplay by Arthur Miller. List of superimposing instructions, action descriptions, and English master titles. 1961 Feb 10. 68 leaves ; 35 cm. Mimeo. Dialogue, complete dialogue, brief action, footage, etc., in columns. Exhibition footage 11,207 plus 1 frame; 13 reels, 124 minutes 31 seconds. Accompanied by: The misfits : trailer / United Artists Corporation. 1961 Jan 16. - 4 leaves. Mimeo. Footage, dialogue, camera, action. COMMENT: These are sets of instructions for the preparation of foreign-language subtitled versions of the film and its advertising trailer. Included are brief continuity descriptions, the English dialogue which is to be translated for subtitling, and footage and frame guides indicating where the titles are to be inserted. 1961 Producer: Frank E. Taylor Director: John Huston Screenwriter: Arthur Miller Seven Arts Production / United Artists 125. MISTER ROBERTS Mister Roberts / screenplay by Frank Nugent and Joshua Logan. - Second revised final shooting script. 1955 Feb 15. 133 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shorts; "2nd rev" entered in pen before "final" on cover. Includes cast of characters on 2 leaves dated 2/15/55 with "Ginny Brown" lined out and replaced in ink by "Ann Girard"; photocopied cast and credits dated 3/2/55. 55 1955 Producer: Leland Hayward Director: John Ford, Mervyn LeRoy Screenwriters: Frank Nugent, Joshua Logan Warner Bros. 126. MOBY DICK 126a. Moby Dick / screenplay by Ray Bradbury. Final script. - 1954 Feb 22. 148 leaves ; 28 cm. Photocopy. Dialogue and action; numbered shots; undated correction leaves marked "FC"; cover sheet dated in pencil. - Includes cast and credit list dated 1/27/56. 126b. Moby Dick / screenplay by Ray Bradbury. Final script. - 1954 Feb 22. 148, [20] leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots; occasional markings. Includes" cast and credits sheet dated 1/27/56; 20 variously numbered leaves follow script, bound upside down. COMMENT: There are 20 undated blue pages; the original pages they replaced are inserted upside down and backward at the end. 1956 Producer: John Huston Director: John Huston Screenwriters: Ray Bradbury, John Huston Warner Bros. 127. MY DARLING CLEMENTINE 127a. My darling Clementine / screenplay by Samuel G. Engel and Winston Miller. First draft continuity. 1946 Feb 22. 146 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots; markings in pencil throughout; cover marked in pencil: D.Z. COMMENT: This is a copy of the script used by producer Darryl Zanuck. There are corrections, doodlings, and notes throughout in his hand for example, "Ann Baxter test" and "Why not shoot cactus instead of Alice?" 56 127b. My darling Clementine / screenplay by Samuel G. Engel and Winston Miller. Final script. 1946 Mar 11. 139 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots. Revisions through 3/30/46; script followed by 4 mimeo leaves headed "revised added scenes and retakes" dated through 7/10/46. COMMENT: There are 38 blue revision pages from 3/22/46 to 3/30/46. The added scenes and retakes are on blue paper and are dated from 7/8/46 to 7/10/46. 127c. My darling Clementine / screenplay by Samuel G. Engel and Winston Miller ; from a story by Sam Hellman ; based on a book by Stuart N. Lake. Continuity and dialogue taken from the screen. - 1946 Oct 23. [123] leaves numbered variously by reel ; 29 cm. Mimeo. -- Two-column format with dialogue on right, scene number, action, and camera on left. Includes one sheet titled: Songs heard over titles. 8728 feet. 1946 Producer: Samuel G. Engel Director: John Ford Screenwriters: Samuel G. Engel, Winston Miller 20th Century-Fox 128. MY FAIR LADY My fair lady / screenplay by Alan Jay Lerner ; based on the musical play with book and lyrics by Alan Jay Lerner and music by Frederick Loewe ; from Bernard Shaw's "Pygmalion". Final script. 1963 Jun 24. 140 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots. Includes cast and credits sheet dated 12/1/64; cast list dated 6/24/63 with characters' names; opening sheet describing background for titles; revisions through 10/29/63. COMMENT: The 140 leaves contain 55 blue revision pages dated from 7/3/63 to 10/29/63. Most of the revisions are dated 7/3/63. 1964 Producer: Jack L. Warner Director: George Cukor Screenwriter: Alan Jay Lerner Warner Bros. 57 129. NAKED AND THE DEAD, THE The naked and the dead / screenplay by Denis Sanders and Terry Sanders. -- Third revised final. 1957 Dec 6. 157 leaves ; 29 cm. Photocopy. Dialogue and action; numbered shots. Includes revisions through 1/21/58; cast and credits dated 5/21/58. 1958 Producer: Paul Gregory Director: Raoul Walsh Screenwriters: Denis and Terry Sanders RKO-Teleradio Pictures / Warner Bros. 130. NATIONAL LAMPOON'S ANIMAL HOUSE National Lampoon's Animal house / by Harold Ramis, Douglas Kenney, and Chris Miller. Final draft screenplay. 1977 Aug 29. 125 leaves ; 29 cm. Photoreproduction. Dialogue, camera, action; numbered scenes. Production #00432. 1978 Producers: Matty Simmons, Ivan Reitman Director: John Landis Screenwriters: Harold Ramis, Douglas Kenney, Chris Miller Universal 131. NIGHT OF THE IGUANA, THE The night of the iguana / screenplay by Anthony Veiller and John Huston ; from the play by Tennessee Williams. Final version. - 1963 Sep 19. 140 leaves ; 30 cm. Photocopy. Dialogue and action; numbered shots; occasional markings; handwritten copyright notation for MGM 1964. - Includes revisions to 12/7/63. COMMENT: There are 72 inserted revision pages dated from 9/23/63 to 12/7/63. 1964 Producer: Ray Stark Director: John Huston Screenwriters: Anthony Veiller, John Huston MGM 132. 1900 [NINETEEN HUNDRED] 1900 / screenplay by Bernardo Bertolucci, Franco Arcalli, Guiseppe Bertolucci. c!974. 108 leaves ; 28 cm. Photocopy. Prose narrative. COMMENT: Not a screenplay as such, this is an extensively detailed prose description in English of the film's continuity. 1977 Producer: Alberto Grimaldi Director: Bernardo Bertolucci Screenwriters: Franco Arcalli, Guiseppi Bertolucci, Bernardo Bertolucci PEA Produzioni Europee (Rome) / Associate Les Productions GmbH (Berlin) / Artists Associates s.a., Artemis Film (Paris) / Paramount 133. NOTHING SACRED Nothing sacred / screenplay by Ben Hecht ; directed by William A. Wellman ; produced by David O. Selznick. Final shooting script. - 1937 Jun 12. 65 leaves ; 32 cm. Mimeo on onionskin. Cover sheet title begins: Selznick International presents Nothing Sacred. Dialogue and action; numbered shots. 1937 Producer: David O. Selznick Director: William Wellman Screenwriter: Ben Hecht Selznick International / United Artists 134. OH, GOD Oh, God / written by Carl Reiner ; from 1st draft screenplay by Larry Gelbart ; from the novel by Avery Gorman. Final. 1976 Oct 19. 140 leaves ; 29 cm. Photoreproduction. Dialogue and action; numbered shots; title page contains name: George Burns. 1977 Producer: Jerry Weintraub Director: Carl Reiner Screenwriter: Larry Gelbart Warner Bros. 59 135. OLD MAN AND THE SEA, THE The old man and the sea / screenplay by Peter Viertel. Revised final continuity. 1957 Aug 28. 98 leaves ; 29 cm. Photocopy. Dialogue and action; numbered shots. Includes cast and credits sheet dated 11/29/57; a prefatory note on the novel as source. COMMENT: The prefatory note reads: "Please remember the book itself is the basis of this film (insofar as those portions portrayed) and that its use in conjunction with this continuity is essential." 1958 Producer: Leland Hayward Director: John Sturges Screenwriter: Peter Viertel Warner Bros. 136. ONE FLEW OVER THE CUCKOO'S NEST One flew over the cuckoo's nest / screenplay by Lawrence Hauben and Bo Goldman ; based on the novel by Ken Kesey. Final draft. - 1974 Dec 5. 136 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots. Includes time, location, and character list. 1975 Producers: Saul Zaentz, Michael Douglas Director: Milos Forman Screenwriters: Lawrence Hauben, Bo Goldman Fantasy Films for United Artists 137. ONE HOUR WITH YOU One hour with you / screenplay by Samson Raphaelson. Final script. - 1931 Dec 24. [126] leaves numbered variously by sequence ; 36 cm. Mimeo; some typewritten leaves. -- Title page altered in pen and pencil to include: "Lyrics by Leo Robin, etc." and "Direction and supervision: Ernst Lubitsch."; last scene is penned out and a revised scene is added; two-column format with camera and action on left, dialogue on right. COMMENT: This was Raphaelson's personal bound copy; his name is stamped in gilt on the cover. It contains a few annotations by him, and a rewritten last scene (the earlier mimeographed ending is crossed out and a new ending [typescript] which was actually used in the film is inserted after the last page). 60 1932 Producer: Ernst Lubitsch Director: Ernst Lubitsch, assisted by George Cukor Screenwriter: Samson Raphaelson Paramount 138. OUR MAN IN HAVANA Our man in Havana / novel and screenplay by Graham Greene. - Release script. c!959. [Ill] leaves numbered variously by reel ; 21 X 33 cm. Mimeo. Three-column format with total, scene, feet, frames on left, camera and action in center, and dialogue on right; frequent notations, references to the novel, and markings throughout. COMMENT: This is a complete record of the film's dialogue and continuity, with frame and footage counts. It is the copy of the script used by Gene Phillips in the preparation of his Graham Greene: The Films of His Fiction (1974). It is extensively annotated by Phillips, especially in regard to changes from book to film. 1960 Producer: Carol Reed Director: Carol Reed Screenwriter: Graham Greene Columbia 139. OUT OF THE PAST Build my gallows high. Final script. 1946 Oct 24. 135 leaves ; 29 cm. Mimeo. - "Out of the past" penciled over typed title. Dialogue and action; numbered shots ; change dates penciled on cover sheet; "Mr. Duff on cover in pen. Includes revisions through 12/6/46. COMMENT: There are 20 blue revision pages from 11/4/46 to 12/6/46. 1947 Producers: Warren Duff, Robert Sparks Director: Jacques Tourneur Screenwriter: Geoffrey Homes RKO 61 140. PALM BEACH STORY, THE The Palm Beach story / screenplay by Preston Sturges. - 1941 Nov 21. 157 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots. Includes character list with partial cast. 1942 Producer: Paul Jones Director: Preston Sturges Screenplay: Preston Sturges Paramount 141. PATTON Patton (Blood and Guts) / screenplay by Francis Ford Coppola and Edmund H. North. Revised screenplay. -- 1968 Jul 8. 157 leaves ; 29 cm. Photoreproduction. Dialogue, camera, action; numbered scenes. 1970 Producer: Frank McCarthy Director: Franklin J. Schaffner Screenwriters: Francis Ford Coppola, Edmund H. North A Frank McCarthy-Franklin J. Schaffner Production / 20th Century-Fox 142. PHILADELPHIA STORY, THE The Philadelphia story / [screenplay by] Waldo Salt, Donald Ogden Stewart. -- Temporary incomplete. 1940 Jun 4. 137 leaves ; 30 cm. Mimeo. Dialogue and action; numbered shots; frequent pencil markings and notations; cover signed "J. Mankiewicz"; "temporary incomplete" altered to read "temporary complete". Changes and additions listed on verso of cover; includes prefatory note on the number of pages; revisions through 6/15/40. COMMENT: This copy contains ten individually dated revision pages from 6/5/40 to 6/15/40. There are annotations throughout involving clearances on the use of proper names, titles of works, and quota- tions. For instance, at one point an allusion to Leopold Stokowski is ordered eliminated by the producer. 62 1940 Producer: Joseph L. Mankiewicz Director: George Cukor Screenwriter: Donald Ogden Stewart MGM 143. PINKY Pinky / screenplay by Philip Dunne, Dudley Nichols. Revised final script. 1949 Mar 5. 163 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots. Revisions through 4/19/49; script followed by two typescript leaves titled "Pennsylvania eliminations on Pinky" listing deletions and a statement describing conditions of revocation of license. COMMENT: There are 14 blue revision pages dated from 3/18/49 to 4/19/49. The Pennsylvania State Board of Censors objected to a scene in which two loafers in a lane make advances toward Pinky, and Fox agreed to remove the offending material. The board issued an approval seal, but "with reluctance not because of the theme but because of the inflammatory director. We suggest you read the notice on the certificate 'the Board reserves the right to revoke this cer- tificate,' and advises [sic] that if this film causes real distress at any place or for any people in the state, we will feel privileged to the right to revoke the license." 1949 Producer: Darryl F. Zanuck Director: Elia Kazan Screenwriters: Philip Dunne, Dudley Nichols 20th Century-Fox 144. PLACE IN THE SUN, A A place in the sun / screenplay by Michael Wilson ; based on Theodore Dreiser's "An American tragedy". -- 1949. 167 leaves ; 29 cm. Photocopy. Dialogue and action; numbered shots; bound with several photocopied stills; leaves dated 8/5/49 through 9/23/49. COMMENT: This is a photocopy of an original which contained eight production stills inserted at the corresponding scenes in the script. 1951 Producer: George Stevens Director: George Stevens Screenwriters: Michael Wilson, Harry Brown Paramount 63 145. PLAY IT AGAIN, SAM Play it again, Sam / screenplay by Woody Allen ; based on a play by Woody Allen. -- Revised shooting script. [1971]. 119 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots; illustrated cover. Revision dated 8/30/71 . 1976 Producer: Arthur P. Jacobs Director: Herbert Ross Screenwriter: Woody Allen Apjac Productions in association with Rollins-Joffe Productions / Paramount 146. PRISONER OF SHARK ISLAND, THE Shark island / original screenplay by Nunnally Johnson. Revised final. - 1935 Oct 23. 133 leaves ; 29 cm. Mimeo. Occasional penciled notations; numbered shots; dialogue and action. Includes character list. COMMENT: The notations, in red pencil, apparently indicate dialogue and scene changes made during shooting. 1936 Producer: Darryl F. Zanuck Director: John Ford Screenwriter: Nunnally Johnson 20th Century-Fox 147. PRODUCERS, THE The producers / by Mel Brooks. -- 1967 Mar ; c!966. 101 leaves ; 29 cm. Photoreproduction. Dialogue and action; numbered shots. COMMENT: This copy is part of the Writers Guild of America's script series made available to schools and other institutions for educational use. 1967 Producer: Sidney Glazier Director: Mel Brooks Screenwriter: Mel Brooks Sidney Glazier-Springtime Productions Crossbow Prod. / Embassy Pictures 64 148. PUBLIC ENEMY, THE The public enemy / by Kubec Glasmon and John Bright ; screenplay by Harvey Thew. Final script. 1931 Jan 18. 134 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots. COMMENT: This copy contains the following prefatory caution: "The script is final and the dialogue is not to be changed or altered on the set, unless authorized by the production office." Darryl Zanuck. 1931 Director: William A. Wellman Screenwriter: Harvey Thew Warner Bros. 149. QUEEN CHRISTINA Christina / by Salka Viertel and Marget Le Vino ; story thread and continuity by Bess Meredyth and Salka Viertel. 1932 Nov 21. 171 leaves ; 29 cm. Original typescript. Cover: "Queen" penciled over "Christina". - Dialogue and action; numbered shots. 1933 Producer: Walter Wanger Director: Rouben Mamoulian Screenwriters: Salka Viertel, H. M. Harwood, S. N. Behrman MGM 150. QUICK MILLIONS Quick millions / directed by Rowland Brown ; photographed by Joseph August ; edited by Harold Schuster. Dialogue taken from the screen. - 1931 Mar 11. 47 leaves ; 29 cm. Mimeo. Dialogue with brief action notes; reels indicated. - 6200 feet. 1931 Director: Rowland Brown Screenwriters: Courtney Terrett, Rowland Brown, John Wray Fox Film Corporation 151. THE QUIET MAN The quiet man / screenplay by Frank S. Nugent ; from the story by Maurice Walsh. Cutting continuity. [195?]. 116 leaves ; 37 cm. Mimeo. Dialogue and action; numbered shots; cover sheet specifies uses of this continuity. -- 13 reels; production #1912. 65 1952 Producer: Merian C. Cooper Director: John Ford Screenwriter: Frank S. Nugent Argosy Productions / Republic 152. REBECCA Rebecca / screenplay by Robert E. Sherwood and Joan Harrison ; from the novel by Daphne du Maurier ; adaptation by Philip MacDonald and Michael Hogan ; produced by David O. Selznick ; directed by Alfred Hitchcock. Final shooting script. 1939 Sep 7. 148 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots; occasional notations. 1940 Producer: David O. Selznick Director: Alfred Hitchcock Screenwriters: Robert E. Sherwood, Joan Harrison Adaptation: Philip MacDonald, Michael Hogan Selznick International / United Artists 153. REBEL WITHOUT A CAUSE Rebel without a cause / screenplay by Stewart Stern. Final script. 1955 Mar 3. 117 leaves ; 30 cm. Mimeo. Dialogue and action; numbered shots; previous dialogue, business, scene changes are indicated. Includes revisions through 5/18/55; cast and credits sheet dated 8/12/55; cast of characters on 2 leaves dated 3/25/55, with descriptive paragraphs. COMMENT: There are 82 revision pages dated from 3/26/55 to 5/18/55. 1955 Producer: David Weisbert Director: Nicholas Ray Screenwriter: Stewart Stern Warner Bros. 154. RED BADGE OF COURAGE Red badge of courage. [1950?]. 72 leaves ; 29 cm. Mimeo. Camera, dialogue, and action. 66 COMMENT: This is an undated shooting script with no shot or scene numbers shown. 1951 Producer: Gottfried Reinhardt Director: John Huston Screenwriter: John Huston MGM 155. RETURN OF FRANK JAMES, THE The return of Frank James / original screenplay by Sam Hellman. - Continuity and dialogue taken from the screen. 1940. [151] leaves numbered variously by reel ; 29 cm. Mimeo. -- Two-column format with camera and action on left, dialogue on right. Includes cast and character list. 8440 feet. 1940 Producer: Darryl F. Zanuck Director: Fritz Lang Screenwriter: Sam Hellman 20th Century-Fox 156. RIO BRAVO Rio Bravo / original screenplay by Jules Furthman, Leigh Brackett. Final. - 1958 Feb 26. 122 leaves ; 29 cm. Mimeo? Dialogue and action; numbered shots. Includes revision leaves dated 6/17/58; cast and credits dated 1/19/59; cast of characters with brief descriptions dated 2/26/58 on 2 leaves. COMMENT: There are three blue revision pages. 1959 Producer: Howard Hawks Director: Howard Hawks Screenwriters: Jules Furthman, Leigh Brackett Armada Productions / Warner Bros. 157. ROCKY Rocky / by Sylvester Stallone. Master script. 1976. 125 leaves ; 29 cm. Photocopy. Dialogue and action; numbered shots. Revisions through 1/7/76. COMMENT: There are 99 revision pages dated from 11/28/75 to 1/7/76. 67 1976 Producers: Irwin Winkler, Robert Chartoff Director: John G. Avildsen Screenwriter: Sylvester Stallone United Artists 158. ROMEO AND JULIET Romeo and Juliet / [screenplay by] Talbot Jennings. Complete. - 1935 Nov 13. 93 leaves ; 29 cm. Mimeo. Revisions through 3/4/36; "From Talbot Jennings November 13, 1935"; "Script okayed by Mr. Thalberg Mar 4 1936"; "Cover and first page torn by production dept. 2-18-36"; dialogue and action; numbered shots. COMMENT: There are 53 pink revision pages from 11/16/35 to 3/4/36. 1936 Producer: Irving Thalberg Director: George Cukor Screenwriter: Talbot Jennings MGM 159. ROSEMARY'S BABY Rosemary's baby / screenplay by Roman Polanski ; based on the novel by Ira Levin. Preliminary script. 1967 May 15. 185 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots. 1968 Producer: William Castle Director: Roman Polanski Screenwriter: Roman Polanski William Castle Enterprises / Paramount 160. ROYAL SCANDAL, A 160a. The Czarina / screenplay by Edwin Justus Mayer. Revised final. - 1944 Aug 9. 138 leaves ; 29 cm. Mimeo. - "Released as A Royal Scandal" penned on cover. - Dialogue and action; numbered shots. Includes 5 leaves of retakes dated 1/8/45 and 2 revision leaves dated 8/19/44. 68 160b. Czarina : (a royal scandal) / screenplay by Edwin Justus Mayer ; adapted by Bruno Frank ; from a play by Lajos Biro and Melchior Lengyel. Continuity and dialogue taken from the screen. - 1945 Feb 28. [156] leaves numbered variously by reel ; 29 cm. Mimeo. Two-column format with scene, camera, action on left, and dialogue on right. 8400 feet. 1945 Producer: Ernst Lubitsch Director: Otto Preminger Screenwriter: Edwin Justus Mayer 20th Century-Fox 161. SAILOR WHO FELL FROM GRACE WITH THE SEA, THE The sailor who fell from grace with the sea : a screenplay / by Lewis John Carlino ; from the book by Yukio Mishima. 1975 Jan 20. 116 leaves ; 29 cm. Photoreproduction. Dialogue, camera, and action; numbered scenes. Quotations from original novel incorporated into descriptions of action. 1976 Producer: Martin Poll Director: Lewis John Carlino Screenwriter: Lewis John Carlino Avco Embassy Pictures / 20th Century-Fox 162. SALUTE Salute / screen story by John Stone ; dialogue by James K. McGuinness ; directed by John Ford ; photographed by Joseph August ; edited by Alex Troffey. Dialogue and action taken from screen. - 1929 Aug 3. 109 leaves ; 28 cm. Dialogue and action taken from the screen by Helen Barnhart and Peggy Lent. Mimeo. Includes cast and credit sheet. 7610 feet. 1929 Director: John Ford Screenplay, dialogue: James K. McGuinness Titles: Wilbur Morse, Jr. Fox Film Corporation 69 163. SCARLET EMPRESS, THE The scarlet Empress / a screenplay based on the life of Catherine the Great ; director, Josef von Sternberg. Second yellow script. - 1933 Aug 23. 88 leaves ; 37 cm. Mimeo. Running title: Her regiment of lovers. - "Paramount Studio release date Sept. 5, 1934". -- Two-column format with action on left, dialogue on right; shots numbered within sequences. - Includes sheet with departmental notes describing time and place of settings; contains one still titled "Marlene Dietrich in Catherine the Great." Still title crossed out and replaced in pen by "Scarlet Empress". COMMENT: The prefatory page of "Departmental Notes" is about authenticity in scenic design, costuming, and the casting of extras. 1934 Director: Josef von Sternberg Screenwriter: Manuel Komroff Paramount 164. SCOUNDREL, THE The scoundrel / written, directed, and produced by Ben Hecht and Charles MacArthur. Release dialogue script. -- 1935 May 8. [64] leaves numbered variously by reel ; 30 cm. Mimeo. -- Two-column format with action and camera on left, and dialogue on right; numbered shots. 6940 feet; 8 reels. COMMENT: This is primarily a transcription of the dialogue from the screen. The descriptions of the continuity are very brief. A heading on the first page indicates the script as "CENSORSHIP DIALOGUE SCRIPT." 1935 Producers: Ben Hecht, Charles MacArthur Directors: Ben Hecht, Charles MacArthur Screenwriters: Ben Hecht, Charles MacArthur Paramount 165. SEND ME NO FLOWERS Send me no flowers / by Julius Epstein. Final screenplay. - 1963 Nov 26. 124 leaves ; 29 cm. Photoreproduction. Dialogue and action; numbered shots. - Revision leaves dated through 1/13/64. Cover: Harry Keller. - Production #01940. COMMENT: There are 75 blue revision pages from 12/9/63 to 1/13/64 and 16 pink revision pages of 12/19/63 and 1/13/64. 1964 Producer: Harry Keller Director: Norman Jewison Screenwriter: Julius J. Epstein Martin Melcher Productions / Universal 166. SHANGHAI EXPRESS Shanghai express / screenplay by Jules Furthman ; from the original story by Harry Hervey ; director, Josef von Sternberg. - White script. - 1931 Oct 2. [121] leaves numbered variously by sequence ; 36 cm. Photocopy. Two-column format with dialogue on right, camera and action on left; numbered by shot and sequence. Contains one still photograph. Paramount release date Feb 15, 1932. 1932 Director: Josef von Sternberg Screenwriter: Jules Furthman Paramount 167. SHOP AROUND THE CORNER The shop around the corner / from Samson Raphaelson. 1939 Oct 20. 125 leaves ; 28 cm. Mimeo. Dialogue and action; numbered shots and sequences; some penciled notations and changes. COMMENT: In two places in this script, emendations to scenes are glued to the opposing leaf. The cover notes "okayed by Mr. Lubitsch." This was Samson Raphaelson's personal bound copy; his name is stamped in gilt on the cover. 1940 Producer: Ernst Lubitsch Director: Ernst Lubtisch Screenwriter: Samson Raphaelson MGM 71 168. SINGIN' IN THE RAIN 168a. Singing in the rain / [screenplay] from Betty Comden, Adolph Green ; producer, Mr. Freed. -- Temporary incomplete. - 1950 Aug 10. 87 leaves ; 29 cm. Mimeo. Dialogue and action; shots and scenes not numbered; cover stamp altered to read "temporary complete"; leaves dated from 8/10/50 to 9/14/50; revisions indicated within text. 168b. Singing in the rain / [screenplay by] Betty Comden and Adolph Green. -- Temporary complete script. 1950 Oct 5. 90 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots. 1952 Producer: Arthur Freed Directors: Gene Kelly, Stanley Donen Screenwriters: Betty Comden, Adolph Green MGM 169. SLAUGHTERHOUSE-FIVE Slaughterhouse-five / screenplay by Stephen Geller ; based on the novel by Kurt Vonnegut, Jr. ; producer: Paul Monash. Revised first draft. - 1970 Nov 5. 130 leaves ; 28 cm. Photoreproduction. Dialogue and action; numbered shots. - Production #00114. 1972 Producer: Paul Monash Director: George Roy Hill Screenwriter: Stephen Geller George Roy Hill-Paul Monash Prod. / Universal 170. SMILING LIEUTENANT, THE The smiling lieutenant / adaptation and dialogue by Ernest Vajda and Samson Raphaelson ; direction by Ernst Lubitsch ; music by Oscar Straus ; lyrics by Clifford Grey. First white script. 1931 Jan 27. [167] leaves numbered variously by sequence ; 28 cm. Mimeo. Penciled notations and markings throughout; two-column format with camera and action on left, dialogue on right. Includes character list with partial cast. 72 COMMENT: The cast list has only the three principal parts filled in with players Chevalier, Colbert, and Hopkins. This was Samson Raphaelson's personal bound copy; his name is stamped in gilt on the cover. 1931 Producer: Ernst Lubitsch Director: Ernst Lubitsch Screenwriters: Ernest Vajda, Samson Raphaelson Paramount 171. SORCERER Sorcerer / a screenplay by Walon Green ; based on the novel "Wages of fear" by Georges Arnaud. [1976?]. 200 leaves ; 28 cm. Photoreproduction. Dialogue and action; numbered shots. 1977 Producer: William Friedkin Director: William Friedkin Screenwriter: Walon Green Paramount / Universal SOUND AND THE FURY, THE The sound and the fury / screenplay by Irving Ravetch and Harriet Frank, Jr. ; from the novel by William Faulkner. Revised final script. - 1958Jul 1. 135 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots. Includes revisions through 9/16/58. COMMENT: There are 44 blue revision pages dated from 7/31/58 to 9/16/58. 1959 Producer: Jerry Wald Director: Martin Ritt Screenwriter: Irvin Ravetch 20th Century-Fox SPECTER OF THE ROSE Specter of the rose / [by] Ben Hecht. -- 1945 Dec 1. 105 leaves ; 29 cm. Mimeo. - Title page: Republic Productions and Jenny present Ben Hecht's Specter of the rose. Dialogue and action; title page, cast and characters, and technical credits leaves typeset; bound with seven stills interspersed throughout the text. -- Title page date is for completed production. 73 1946 Producer: Ben Hecht Director: Ben Hecht Screenwriter: Ben Hecht Republic 174. SPIRIT OF ST. LOUIS, THE The Spirit of St. Louis / screenplay by Billy Wilder and Wendell Mayes ; based on the book by Charles A. Lindbergh ; adaptation by Charles Lederer. Final script. 1957 Jan 8. 97 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots. Includes cast and credits sheet dated 11/20/56; two leaves with full credits. - "Rev" on cover in ink before "final". COMMENT: The second credit list is different from the list dated 11/20/56 and is apparently taken from the screen. 1957 Producer: Leland Hayward Director: Billy Wilder Screenwriters: Billy Wilder, Wendell Mayes Adaptation: Charles Lederer Warner Bros. 175. STAGE DOOR Stage door. - 1937 Jul 31. 152 leaves ; 29 cm. Carbon of typescript. Dialogue, action, and camera; numbered shots; occasional penciled notations on opposing leaf. 1937 Producer: Pandro S. Berman Director: Gregory La Cava Screenwriters: Morrie Ryskind, Anthony Veiller RKO 176. STAR IS BORN, A (1954) A star is born / musical screenplay by Moss Hart ; based on the Dorothy Parker, Alan Campbell, Robert Carson screenplay ; from a story by William Wellman and Robert Carson. Final script. - 1953 Oct 7. 110 leaves ; 29 cm. Photocopy. Dialogue and action; numbered shots. Includes revision through 5/17/54; cast and characters sheet dated 7/21/54; cast of characters with some descriptive paragraphs. COMMENT: There are 60 revision leaves dated from 10/16/53 to 5/17/54. The following prefatory note appears: "No dialogue changes, either additions or deletions, and no set or production changes are to be made in this script without the written approval of J. L. Warner, Steve Trilling, or T. C. Wright." 1954 Producer: Sidney Luft Director: George Cukor Screenwriter: Moss Hart Warner Bros. 177. STAR IS BORN, A (1976) A star is born / written by John Gregory Dunne and Joan Didion ; executive producer, John Foreman ; producer, John Peters ; director, Jerry Schatzberg. - Third draft. -- 1974 Aug 23. 137 leaves ; 29 cm. Photocopy. Cover titles: A star is born - Rainbow road - Untitled screenplay. Last two titles lined out. Dialogue and action; numbered shots. COMMENT: Frank Pierson in New York magazine, November 15, 1976, p. 49: "So far six writers and three directors have all abandoned ship"; apparently Jerry Schatzberg was one of these. 1976 Producer: Jon Peters Director: Frank Pierson Screenwriters: John Gregory Dunne, Joan Didion, Frank Pierson First Artists / Warner Bros. 178. STAR WARS 178a. Star wars / [by] George Lucas. Fourth draft. 1976 Feb 15. 156 leaves ; 29 cm. Photocopy. All leaves dated 4/15/76 or 4/19/76; dialogue and action; shots numbered in both margins; omitted shots indicated. 178b. The adventures of Luke Starkiller [sic] as taken from the "Journey of the Whills" / by George Lucas. Saga I : Star Wars. Revised fourth draft. - 1976 Mar 15. 156 leaves ; 30 cm. Photocopy. All leaves dated 4/15/76 or 4/19/76; various scene and shot numbers; dialogue and action. Photo of poster with 20th Century-Fox logo precedes script. 75 1977 Producer: Gary Kurtz Director: George Lucas Screenwriter: George Lucas 20th Century-Fox 179. STEAMBOAT ROUND THE BEND Steamboat round the bend / screenplay by Dudley Nichols and Lamar Trotti ; from the novel by Ben Lucien Burman. Final shooting script. 1935 Apr 22. 125 leaves ; 30 cm. Mimeo. Revisions dated 5/9/35; numbered scenes; dialogue and action; cover stamped "last copy". COMMENT: There are 11 blue revision sheets. 1935 Producer: Sol M. Wurtzel Director: John Ford Screenwriters: Dudley Nichols, Lamar Trotti 20th Century-Fox 180. STING, THE The sting / screenplay by David S. Ward. Final draft screenplay - 1972 Dec 14. 129 leaves ; 29 cm. Photoreproduction. Dialogue and action; numbered shots. - Revisions dated through 1/11/73. - Production #02062. COMMENT: There are two pink revision pages of 11/22/72, 15 blue pages of 12/4/72, 28 pink pages of 1/9/73, one blue page of 1/10/73, and two yellow pages of 1/11/73. 1973 Producers: Tony Bill, Michael & Julia Phillips Director: George Roy Hill Screenwriter: David S. Ward Richard D. Zanuck-David Brown Presentation / Universal 76 181. STRANGERS ON A TRAIN Strangers on a train / screenplay by Raymond Chandler and Czenzi Ormonde ; adaptation by Whitfield Cook ; from the novel by Patricia Highsmith. - Final script. - 1950 Oct 18. 156 leaves ; 29 cm. Photocopy. Dialogue and action; numbered shots; script is in 3 parts, part I dated 10/18/50, part II not dated, part III dated 11/14/50. Includes cast of characters on 2 leaves with descriptions of main characters; cast and credit sheet dated 1/17/51 with release date of 6/30/51; revisions through 12/16/50. COMMENT: There are 46 revision pages dated from 11/1/50 to 12/16/50. Despite a notation to the contrary on the title page, this is a complete script. 1951 Producer: Alfred Hitchcock Director: Alfred Hitchcock Screenwriters: Raymond Chandler, Czenzi Ormonde Warner Bros. 182. STREETCAR NAMED DESIRE, A A streetcar named Desire / screenplay by Tennessee Williams ; adaptation by Oscar Saul ; based on the original play "A streetcar named Desire" by Tennessee Williams, as presented on the stage by Irene Mayer Selznick. Final screenplay. [1950]. 132 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots. Includes revisions to 11/2/50; cast and credits dated 3/1/51. Script is in 3 parts. Part II dated 8/12/50, part III dated 8/15/50. COMMENT: Though the title page is undated, there are 39 individ- ually dated blue revision pages from 8/28/50 to 11/2/50. 1951 Producer: Charles K. Feldman Director: Elia Kazan Screenwriter: Tennessee Williams Warner Bros. 183. SULLIVAN'S TRAVELS Sullivan's travels. -- 1941 May 5. 145 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots. Script leaves dated 5/2/41 through 5/5/41; revisions dated 5/8/41. 77 COMMENT: This script contains a rewritten ending on seven blue revision pages. It also has the following prefatory note: "This is the story of a man who wanted to wash an elephant. The elephant darn near ruined him." Also included is an interoffice memo with the following instruction: "In the script of Sullivan's Travels, wherever the title 'For Whom the Night Falls' appears, please change it to 'Oh, Brother, Where Art Thou?' ' 1941 Producer: Paul Jones Director: Preston Sturges Screenwriter: Preston Sturges Paramount 184. SUN ALSO RISES, THE The sun also rises / by Ernest Hemingway ; [screenplay by] Peter Viertel. Revised temporary script. -- 1956Jun25. 140 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots. 1956 Producer: Darryl F. Zanuck Director: Henry King Screenwriter: Peter Viertel 20th Century-Fox 185. SUNSET BOULEVARD Sunsent Boulevard / written by Charles Brackett, Billy Wilder, D.M. Marshman, Jr. [Continuity and dialogue taken from the screen]. 1950. 93 leaves ; 28 cm. Mimeo. -- Two-column format with camera and action on left, dialogue on right; occasional pencil markings and notations; credits begin with cast of characters on a separate sheet. 1950 Producer: Charles Brackett Director: Billy Wilder Screenwriters: Charles Brackett, Billy Wilder, D.M. Marshman, Jr. Paramount 78 186. SUSPICION Before the fact / screenplay by Samson Raphaelson ; based on "Before the fact" by Francis lies ; produced and directed by Alfred Hitchcock. - 1941 Feb 12. 232 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots. Revision leaves dated through 3/15/41. COMMENT: There are 51 blue revision pages from 1/24/41 to 3/15/41. 1941 Producer: Alfred Hitchcock Director: Alfred Hitchcock Screenwriters: Samson Raphaelson, Joan Harrison, Alma Reville RKO 187. SWAMP WATER Swamp water / screenplay by Dudley Nichols ; from the novel by Vereen Bell. Final script. 1941 Jun 14. 137 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots. Includes introduction, character list. Revisions through 7/17/41; added scenes dated 9/11/41 on leaves 1-6, 9/3/41 and 9/4/41 on leaves 1-16; added scenes and retakes dated 9/3/41 on leaves 1A-8A. COMMENT: There are 13 blue revision pages from 6/16/41 to 7/17/41 plus 31 pages of added scenes and retakes from 9/3/41 to 9/11/41 at the end. The list of characters includes bit parts. There is a prefatory note reading, "This is the story of a boy and a girl, of a boy and a dog, of a father and a son, of a man and his wife and a lot of other purely fine people and dogs. And oh yes, of a mighty obliging big knicker of an alligator!" 1941 Producer: Irving Pichel Director: Jean Renoir Screenwriter: Dudley Nichols 20th Century-Fox 188. TAXI DRIVER Taxi driver / by Paul Schrader. Final shooting script. - 1975 Aug 29. 105 leaves ; 29 cm. Photocopy. Dialogue and action; occasional annotations; numbered shots. Includes revision sheets through 6/13/75; prefatory quote from Thomas Wolfe; one sheet describing the character Travis Bickle. 79 COMMENT: There are 63 revision pages dated 5/5/75 to 6/13/75. 1976 Producer: Michael Phillips, Julia Phillips Director: Martin Scorsese Screenwriter: Paul Schrader Columbia 189. TENDER IS THE NIGHT Tender is the night / screenplay by Ivan Moffat. Final script. - 1961 Jan 31. 172 leaves ; 29 cm. Mimeo. Cover title: F. Scott Fitzgerald's Tender is the night. - Dialogue and action; numbered shots; occasional markings; script preceded by introductory quote on 1 leaf. Includes revisions dated 2/8/61. COMMENT: There are two blue revision pages. A few scenes in this copy are crossed out by hand. The quotation preceding the script reads: "In the real dark night of the soul it is always three o'clock in the morning." F. Scott Fitzgerald. 1962 Producer: Henry T. Weinstein Director: Henry King Screenwriter: Ivan Moffat 20th Century-Fox 190. TENNESSEE JOHNSON Andrew Johnson : the man on America's conscience / from Wells Root. - Temporary complete. 1941 Feb 4. 189 leaves ; 28 cm. Mimeo. Cover title altered in pen to read "Tennessee Johnson." - Dialogue and action; numbered shots. Many leaves individually dated from 11/18/40 to 1/27/41. COMMENT: There are 112 individually dated revision pages from 11/18/40 to 1/27/41. 1942 Producer: J. Walter Ruben Director: William Dieterle Screenwriters: John L. Balderston, Wells Root MGM 80 191. THAT LADY IN ERMINE That lady in ermine / screenplay by Samson Raphaelson. - Continuity and dialogue taken from the screen. -- 1948 Jul 28. [112] leaves numbered variously by reel ; 28 cm. Mimeo. - Two-column format with camera and action on left, dialogue on right. 8310 feet. 1948 Producer: Ernst Lubitsch Director: Ernst Lubitsch Screenwriter: Samson Raphaelson 20th Century-Fox 192. THEY DRIVE BY NIGHT They drive by night / screenplay by Jerry Wald and Richard Macaulay ; from the novel by A.I. Bezzerides ; director Raoul Walsh. - [1940]. 146 leaves ; 29 cm. Typescript on onionskin. - "Long Haul" penciled on cover sheet. - Dialogue and action; numbered shots; "George Raft, Humphrey Bogart, Ann Sheridan, Ida Lupino" penciled on cover sheet. - Includes revised cast of characters with brief descriptions; revisions through 5/28/40 and 7/17/52. COMMENT: "Long Haul" is penciled above the typewritten title and is apparently a tentative working title. Although the script itself is un- dated, it contains 16 revision pages individually dated from 4/20/40 to 5/14/40 and one page of added scenes dated 5/28/40. Unaccount- ably, two of the revision pages are dated 5/28/52 and one is dated 7/17/52. 1940 Producer: Hal B. Wallis Director: Raoul Walsh Screenwriters: Jerry Wald, Richard Macauley Warner Bros. 193. THIEVES LIKE US Thieves like us / based on the novel by Edward Anderson ; adaptation by Joan Tewkesbury. [197?]. 122 leaves ; 30 cm. Photocopy. Script preceded by quote from Proverbs of Solomon; dialogue and action; numbered shots; occasional changes marked in hand. 81 1974 Producer: Jerry Bick Director: Robert Altman Screenwriters: Calder Willingham, Joan Tewkesbury, Robert Altman United Artists 194. THINGS TO COME Things to come / adapted from the work by H.G. Wells. - [1935?]. [139] leaves numbered variously by reel ; 36 cm. Photocopy. -- Two-column format; number and type of shot on left with action, footage and frames, dialogue on right. COMMENT: This is a full dialogue and cutting continuity with footage and frame serial numbers. 1936 Producer: Alexander Korda Director: William Cameron Menzies Screenwriter: H. G. Wells (sources vary) London Films / United Artists 195. THIS GUN FOR HIRE This gun for hire / screenplay by Albert Maltz and W.R. Burnett. - 1941 Oct 21. 139 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots; occasional penciled notations. Includes a cast of characters. COMMENT: The notations are scene changes and scene cuts and are in an unknown hand. 1942 Producer: Richard M. Blumenthal Director: Frank Tuttle Screenwriters: Albert Maltz, W. R. Burnett Paramount 196. THREE MUSKETEERS (THE QUEEN'S DIAMONDS) The three musketeers (Diamonds of the queen) / screenplay by George MacDonald Fraser ; based on the novel by Alexandre Dumas. Release script. -- 1973 Dec. [165] leaves numbered variously by reel ; 21 X 35 cm. Mimeo. Chart format showing shot number, length of shot, running total, action, sound; paper color alternating by reel; cover: "postproduction script, prepared in London"; cover leaf gives name and address for Valerie Booth. 82 1974 Producer: Alexander Salkind Director: Richard Lester Screenwriter: George MacDonald Fraser 20th Century-Fox 197. TOAST OF NEW YORK, THE Robber barons / screenplay by P.J. Wolfson. Estimating script. - 1936 Nov 14. 226 leaves ; 29 cm. Mimeo. Cover sheet title in pencil: The toast of New York. - "Mr. Small" on cover; numbered shots; dialogue and action. 1332 speeches; 225 pages. COMMENT: One sheet is numbered "80-81" accounting for the dif- ference between number on the last leaf and the stated number of pages on the cover. 1937 Producer: Edward Small Director: Rowland V. Lee Screenwriters: Dudley Nichols, John Twist, Joel Sayre RKO 198. TOBACCO ROAD Tobacco road / screenplay by Nunnally Johnson. Final script. - 1940 Nov 25. 123 leaves ; 29 cm. Mimeo. -- Dialogue and action; numbered shots. Revisions dated 11/28/40; retakes dated 1/10/41 on 5 unnumbered leaves. COMMENT: There are nine blue revision pages of 11/28/40, plus five blue pages of retakes following the script. 1941 Producer: Darryl F. Zanuck Director: John Ford Screenwriter: Nunnally Johnson 20th Century-Fox 199. TOPAZE Topaze / screenplay by Ben Hecht ; continuity by Charles Lederer ; from the play by Marcel Pagnol. Final script. - 1932 Nov 30. 178 leaves ; 30 cm. Mimeo. - "Mr. Wilkinson" penciled on cover; numbered shots; dialogue and action. Production #58-291. Number of speeches: 672/ 83 1933 Director: Harry d'Abbadie d'Arrast Screenwriter: Ben Levy RKO 200. TREASURE ISLAND Treasure Island / by Robert Louis Stevenson ; adaptation by John Lee Mahin. - 1934 Mar 8. 169 leaves ; 30 cm. Mimeo. Dialogue and action; numbered shots; scripts okayed by Mr. Stromberg. Includes revisions dated 3/29/34. COMMENT: There are 41 pages of revisions. 1934 Producer: Hunt Stromberg Director: Victor Fleming Screenwriter: John Lee Mahin MGM 201. TREASURE OF SIERRA MADRE, THE The treasure of Sierra Madre / script by John Huston ; from the novel by B. Traven. Revised final. -- 1947 Jan 10. 143 leaves ; 29 cm. Photocopy. Dialogue and action; numbered shots. Includes revisions through 6/9/47; a cast and credits list. COMMENT: This is the draft of the screenplay edited and with an introduction by James Naremore and published by the University of Wisconsin Press in 1979. 1948 Producer: Henry Blanke Director: John Huston Screenwriter: John Huston Warner Bros. 202. TREE GROWS IN BROOKLYN, A A tree grows in Brooklyn / screenplay by Tess Slesinger and Frank Davis with contributions by Anita Loos. Shooting final. - 1944 May 1. 178 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots. Revisions through 7/6/44. COMMENT: There are 18 blue revisions pages from 5/23/44 to 7/6/44. 84 1945 Producer: Louis D. Lighten Director: Elia Kazan Screenwriters: Tess Slesinger, Frank Davis 20th Century-Fox 203. TROUBLE IN PARADISE 203a. Trouble in paradise (The honest finder) / screenplay by Samson Raphaelson ; adaptation by Grover Jones ; from the play by Laszlo Aladar ; direction, Ernst Lubitsch. First script. 1932 Jul 15. [161] leaves numbered variously by sequence ; 36 cm. Mimeo with typed title page. -- Two-column format with camera and action on left, dialogue on right; numbered shots and sequences. - Includes character list with partial cast; leaf dated Jul 15, 1932, listing contract players for uncast parts. COMMENT: The title "The honest finder" is on the mimeographed script pages, but "Trouble in paradise" is on the retyped title leaf. This was Raphaelson's personal bound copy; his name is stamped in gilt on the binding, and it is signed by him on the inside front cover. 203b. Trouble in paradise / screenplay by Samson Raphaelson ; adapted by Grover Jones ; from the play by Laszlo Aladar. Release dialogue script. 1932 Oct 15. [84] leaves numbered variously by reel ; 36 cm. Photocopy. Two-column format with camera and action on left, dialogue on right with numbering, sound, and synchronization notes. COMMENT: This is a full dialogue and cutting continuity with footage and frame serial numbers. 1932 Producer: Ernst Lubitsch Director: Ernst Lubitsch Screenwriter: Samson Raphaelson Paramount 204. TURNING POINT, THE The turning point / by Arthur Laurents. -- Revised final. - 1976 Jul 2. 118 leaves ; 30 cm. Photoreproduction. Dialogue and action; numbered shots. - Includes revision leaves through 8/31/76. 85 COMMENT: This copy contains 13 blue revision pages of 7/19/76 and 8/31/76, 10 pink revision pages of 7/21/76 and 7/30/76, and 22 green revision pages of 8/17/76. 1977 Producers: Herbert Ross, Arthur Laurents Director: Herbert Ross Screenwriter: Arthur Laurents 20th Century-Fox 205. TWO YEARS BEFORE THE MAST Two years before the mast / [screenplay by] Seton I. Miller, George Bruce. - 1944 Apr 18. 160 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots; leaves dated from 4/10/44 to 4/18/44. Includes character sheet with partial cast. 1946 Producer: Seton I. Miller Director: John Farrow Screenwriters: Seton I. Miller, George Bruce Paramount 206. UNFAITHFULLY YOURS Unfaithfully yours / screenplay by Preston Sturges. Revised final. - 1948 Feb 10. 154, 42 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots; second sequence consists of 42 charts giving extra talent and bits, cast and wardrobe change, scene numbers and short resume of action, effects, music and miscellaneous, construction essential, and essential props. Revision through 3/4/48; script followed by one leaf titled "index to revised breakdowns," one leaf titled "interiors," one leaf titled "exteriors," dated 2/17/48. COMMENT: There are 42 white pages dated 2/18/48, 91 white pages dated 2/13/48, and 15 blue revision pages from 2/16/48 to 3/4/48. 1948 Producer: Preston Sturges Director: Preston Sturges Screenwriter: Preston Sturges 20th Century-Fox 86 207. UNHOLY THREE, THE The unholy three / story by C.A. Robbins ; scenario by Waldemar Young. Cutting continuity. [1925] Apr 10. [ca. 50] leaves numbered variously by reel ; 29 cm. Mimeo. Columns show scene number, title, color, feet, description. Accompanied by: 1) Final title list of The unholy three. 1925 Apr 10. 13 leaves. - Carbon typescript on onionskin. 2) Reader's report for the book by C.A. Robbins / by W.F. Willis. 1924 Oct 30. -- 13 leaves. Carbon typescript on onionskin. 3) Projection room showing / critique dictated by Bela Sekely. - 1925 Mar 11. 3 leaves. Carbon typescript on onionskin. 4) The unholy three, a story by C.A. Robbins from the continuity written by Waldemar Young. 4 leaves. Typescript on onionskin; signed "Bogen". COMMENT: The script is a full cutting and title continuity with footage and color tinting numbers. The title list includes the opening credit titles. 1925 Director: Tod Browning Screenwriter: Waldemar Young MGM 208. UNMARRIED WOMAN, AN An unmarried woman / an original screenplay by Paul Mazursky. - Revised final. - 1977 Mar 11. 120 leaves ; 28 cm. Photoreproduction. Dialogue and action; numbered shots. 1977 Producers: Paul Mazursky, Tony Ray Director: Paul Mazursky Screenwriter: Paul Mazursky 20th Century-Fox 209. UP THE RIVER Up the river / directed by John Ford ; photographed by Joseph August ; edited by Frank Hull. -- 1930 Sep 18. 118 leaves ; 29 cm. Mimeo. Screen continuity by Helen Barnhart and Peggy Lent. - Numbered shots; occasional penciled notations; dialogue and action. Includes credits sheet. COMMENT: There are handwritten dialogue notations on one leaf. 87 1930 Director: John Ford Story-Scenario-Dialogue: Maurice Watkins Fox Film Corp. 210. VALENTINO Valentino / original screenplay by Ken Russell ; additional dialogue by John Byrum. 1975 Sep 17. 138 leaves ; 29 cm. Photocopy. Dialogue and action; numbered scenes. 1978 Producers: Irwin Winkler and Robert Chartoff Director: Ken Russell Screenwriters: Ken Russell, Mardik Martin Aperture Films / United Artists 211. VIRGIN AND THE GYPSY, THE The virgin and the gypsy / technical shooting script by Christopher Miles ; screenplay by Alan Plater. 1969 May. 151 leaves ; 29 cm. Photocopy of original signed by Christopher Miles. Two-column format, detailed camera and action on left, dialogue on right. 1970 Producer: Kenneth Harper Director: Christopher Miles Screenwriter: Alan Plater Kenwood Films for London Screenplays / Chevron Pictures 212. VIVA VILLA Viva Villa / film editor Robert J. Kern. Dialogue cutting continuity. 1934 Apr 5. [107] leaves numbered variously ; 29 cm. Mimeo. Column format with feet, frames, dialogue, camera, and action. COMMENT: This is a full dialogue and cutting continuity with foot- age and frame serial numbers. 1934 Producer: David O. Selznick Director: Jack Conway Screenwriter: Ben Hecht MGM 88 213. VIVA ZAPATA Zapata / screenplay by John Steinbeck. Second revised screenplay. 1951 Jan 24. 132 leaves ; 29 cm. Mimeo? Dialogue and action; numbered shots; occasional pencil markings and notations. 1952 Producer: Darryl F. Zanuck Director: Elia Kazan Screenwriter: John Steinbeck 20th Century-Fox 214. WALKING DOWN BROADWAY Six girls. Revised final script. 1937 Dec 8. 138 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots. Includes revision leaves to 12/16/37. COMMENT: This script contains 37 blue revision pages dated from 12/11/37 to 12/16/37. 1938 Producer: Sol M. Wurtzel Director: Norman Foster Screenwriters: Robert Chapin, Karen De Wolf 20th Century-Fox 215. WEE WILLIE WINKIE Wee Willie Winkie. - First draft continuity. - 1936 Nov 23. 134 leaves ; 30 cm. Mimeo. Cover and first leaf contain penciled doodling, especially the name D.F. Zanuck. Occasional penciled notations and markings throughout; dialogue and action. Numbered shots. COMMENT: This copy contains markings and notes in pencil in an oversized, childish scrawl, suggesting that this copy may have been used by the film's star, Shirley Temple. There are also pencil mark- ings throughout in another hand indicating scene and dialogue changes. 1937 Producer: Gene Markey Director: John Ford Screenwriters: Ernest Pascal, Julien Josephson 20th Century-Fox 89 216. WELCOME TO L. A. Welcome to L.A. : City of one night stands / screenplay by Alan Rudolph ; music by Richard Baskin. First draft. [197?]. [8], 92 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots. Six leaves with lyrics from "City of one night stands" precede script; includes cast of characters with brief descriptions. 1977 Producer: Robert Altman Director: Alan Rudolph Screenwriter: Alan Rudolph Lion's Gate Films / United Artists 217. WESTERN UNION Western Union. Revised final. 1940 Sep 10. 157 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots. Revisions through 11/25/40; retake section numbered variously and dated 12/4/40 follows script. COMMENT: There are 68 blue revision pages from 9/20/40 to 11/25/40 and nine blue retake pages. The initials "D.Z." [= Darryl F. Zanuck] are signed on the cover. 1941 Producer: Harry Joe Brown Director: Fritz Lang Screenwriter: Robert Carson 20th Century-Fox 218. WHIRLPOOL Whirlpool / screenplay by Lester Bartow and Andrew Solt ; based on a novel by Guy Endore. [Dialogue and action taken from the screen]. - 1950. [117] leaves numbered variously by reel ; 29 cm. Mimeo. Screenplay listing for Lester Bartow penned out and replaced by "Ben Hecht". -- Two-column format with camera and action on left, dialogue on right. 1950 Producer: Otto Preminger Director: Otto Preminger Screenwriters: Ben Hecht, Andrew Solt 20th Century-Fox 90 219. WHITE DAWN, THE The white dawn / by Thomas Rickman ; from the novel by James Houston. Second draft. -- 1973 Mar. 124 leaves ; 29 cm. Photoreproduction. Dialogue and action; numbered scenes. - Contains author's note giving historical setting of place and time. COMMENT: This was screenwriter Thomas Rickman's personal copy of the script. 1974 Producer: Martin Ransohoff Director: Philip Kaufman Screenwriters: James Houston, Tom Rickman Adapted by: Martin Ransohoff Paramount 220. WHITE HEAT White heat / screenplay by Ivan Goff and Ben Roberts. Part I. -Revised final. - 1949 May 4. 131 leaves ; 29 cm. Photocopy. Dialogue and action; numbered shots. Includes revisions through 6/13/49; cast and characters; cast of characters with brief descriptions. Script followed by 2 leaves headed "Pick-up shots" dated 6/18/49. COMMENT: This copy contains the following prefatory warning: "No dialogue changes, whether additions or deletions, and no set or production changes are to be made in this script without the written approval of J. L. Warner, Steve Trilling, or T. C. Wright." 1949 Producer: Louis F. Feldman Director: Raoul Walsh Screenwriters: Ivan Goff, Ben Roberts Warner Bros. 221. WILD GIRL Wild girl. Continuity taken from the screen. 1932 Oct 1. Ill leaves ; 29 cm. Mimeo. -- Two-column format with camera and action on left, dialogue on right. 6950 feet. 1932 Director: Raoul Walsh Screenwriters: Doris Anderson, Edwin Justus Mayer Fox Film Corp. 91 222. WILSON Wilson / screenplay by Lamar Trotti. Revised shooting final. - 1943 Sep 13. 155 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots. Includes author's note about Wilson's character. COMMENT: The prefatory author's note is four paragraphs long and describes Woodrow Wilson's life and career. 1944 Producer: Darryl F. Zanuck Director: Henry King Screenwriter: Lamar Trotti 20th Century-Fox 223. WINGED VICTORY Winged victory / screenplay by Moss Hart. Final script. - 1944 Feb 29. 146 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots; occasional penciled notations. COMMENT: The notations in this copy change "Air Corps" to "Air Force." 1944 Producer: Darryl F. Zanuck Director: George Cukor Screenwriter: Moss Hart 20th Century-Fox 224. WOLF MAN, THE Wolf man / by Curt Siodmak. - 1941 Aug 1. 136 leaves ; 29 cm. Typescript on onionskin. Dialogue and action; numbered shots; occasional penciled notations. COMMENT: This is the original ribbon copy of a typewritten script. 1941 Director: George Waggner Screenwriter: Curt Siodmak Universal 92 225. WOMAN UNDER THE INFLUENCE, A A woman under the influence / by John Cassavetes. 1972 Aug 23. 139 leaves ; 29 cm. Photocopy. Dialogue and action; numbered shots. 1974 Producer: Sam Shaw Director: John Cassavetes Screenwriter: John Cassavetes Faces International Films 226. WUTHERING HEIGHTS Wuthering Heights. 1938 Dec 12. 123 leaves ; 29 cm. Mimeo. Revised sheets dated through 1/23/39. "Wm. Knop" in pen on cover sheet; numbered shots; dialogue, action, and detailed camera notes. COMMENTS: This copy contains 52 revision pages dated from 12/1/38 to 1/23/39. 1939 Producer: Samuel Goldwyn Director: William Wyler Screenwriters: Ben Hecht, Charles MacArthur Samuel Goldwyn / United Artists 227. YOUNG FRANKENSTEIN Young Frankenstein / screenplay by Gene Wilder and Mel Brooks. - Fourth draft. -- 1974 Feb 7. 134 leaves ; 28 cm. Photoreproduction. Dialogue and action; numbered shots. 1974 Producer: Michael Gruskoff Director: Mel Brooks Screenwriters: Gene Wilder, Mel Brooks Crossbow Productions / 20th Century-Fox YOUNG SCARFACE See BRIGHTON ROCK 93 UNPRODUCED SCRIPTS 228. AMERICAN CAVALCADE [Various story treatments for "American cavalcade" later retitled "Battle Hymn"]. - 1942-1944. 1) American cavalcade / from MacKinlay Kantor, George Froeschel. - 1942 Apr 14 to 1942 Jul 22. - 208 p. ; 29 cm. - Mimeo. -- Title in mimeo: Battle Hymn. Lacks p. 29-42. 2) Battle hymn: rewrite on treatments / from George Froeschel and Starr Paret. - 1943 Aug 2 to 1943 Aug 26. 67 leaves ; 29 cm. "From Kantor and Froeschel": cover. "American cavalcade" replaced in hand by "Battle hymn. Carbon typescript. -- Two copies of leaves 30-67. Extensive annotations. 3) Main ideas of "American cavalcade" / from George Froeschel. - 1943 Aug 12. 3 leaves ; 29 cm. Carbon typescript. 4) American cavalcade. Chapters 1-4 / from Carl Sandburg. - 1944 Oct 4. 45 leaves ; 29 cm. Leaf numbered 45-71. - Mimeo. 2 copies. Extensive corrections. 5) American cavalcade. Chapters 5-19 / [from Carl Sandburg?]. - Undated. Leaves 72-430 ; 29 cm. Mimeo. Some penciled corrections. Leaf 107.1 is carbon typescript. PLOT SUMMARY AND COMMENT: These are script drafts for an unproduced MGM project. The main idea of the story is that a respected American figure, after a long and successful life of public service, feels compelled to write a book justifying American ideals in a time of waning national self-confidence. The book will be passed on to representatives of the new generation, who will see their own selves reflected in its contents. In the Kantor/Froeschel version, the new generation are repre- sented by Congressman Ned Miller and his estranged wife Barbara. The Millers split up over apparently irreconcilable differences, one of which is a political issue: in regard to the deepening crisis in Europe, he is an isolationist and she is an interventionist. A ragged old man approaches Barbara in the Capitol one day; for a moment she has the impression that he resembles the "Uncle Sam" on advertising posters. Barbara, and later the Congressman, read portions of a manuscript the old man has written. The first installment is set in 1636 in a New England Puritan community. John Mill, a young man recently emigrated from England, is attracted to Charity Clarke, daughter of one of the two fathers. But politics soon get in the way: he is a friend and defender of Roger Williams, who has been expelled from the 94 community for religious heresy, while she subscribes to her father's rigid Puritan orthodoxy. At the end they part, but we learn in the next section of the manuscript that they eventually reconciled their differences and married. The second installment is set on the eve of the American Revolution and involves Daniel Milton, a Colonialist, and his girl friend Nancy Starke, who has Royalist leanings. They part, and during their separation, she becomes a seamstress for Betsy Ross and he enters the service of the Continental Congress. At the end they are reconciled when she enters the printing shop where Daniel is waiting for the Declaration of Independence to be set in type. The Froeschel/Paret draft is a reworking and dramatic refinement of the two historical episodes in the Kantor/Froeschel draft. The Froeschel "ideas" synopsis introduces a new story frame a 77 -year-old former Supreme Court justice is spending his last years writing the book. It is "a novel about an American boy and an American girl. They meet in the time of the Puritans; they get en- gaged during the War of Independence; they are married at the start of the Civil War. The fourth and last part of his book, the Judge did not write, but he witnessed the final installment of this centuries- spanning love story take shape before his dimming eyes. The couple separated a short time before Pearl Harbor and unite again during the night of the Presidential election of 1944." Sandburg's draft retains the Froeschel approach but only covers the first historical episode. Orville Brand Windom, former Supreme Court justice, is writing the book, which he will leave to be read by his descendants after his death. They are his grandson, Raymond, who is off fighting in the war, and Raymond's wife, Mimah, who is a direct descendant of Mayflower settlers. As the story opens, the former justice is preparing to go on national radio to give an inspirational talk about American ideals. With him as he gives the talk are Mimah and her infant son. The broadcast is proclaimed a resounding suc- cess, but Windom derives no pleasure from this; he is brooding over the message of the book. Not long after, he dies, leaving behind in- structions that reveal the secret manuscript and its purpose. Ray- mond, who was wounded in action, returns home full of disillusion and despair. He and Mimah begin reading the manuscript. It opens in 1607 in an English rural community, some of whose in- habitants will later be original Mayflower settlers. Its main characters are Oliver Windrow, a wood carver, a brooding haunted figure with an intellectual cast of mind; Mary Windling, a rebellious daughter of stern parents, "vivid, wild, and stormy"; and Mary's fiance, John Spong, who is her opposite "dark, sober, and quaint." Mary and John go to temporary refuge in Leyden, where he takes up as a potter and they have twin sons, Freeborn and Resolute, and a daughter, Remember. Back in England, Windrow dies, leaving a son Geoffrey. The narrative proceeds with a lengthy account of passage to America 95 on the Mayflower (the Spongs are among the passengers but Mary does not survive the crossing) and of the hardships and struggles of their early years in the new world. At Plymouth, as they were about to set sail for America, Remember was being harassed by a gang of bullies when a young man of about 14 happened by and rescued her. Fourteen years later this same young man, Resolved Wayfare, shows up in the colonies. He and Remember open a courtship but Remember's father, who has become hardened by the ordeal of the new world, intervenes. Sandburg takes great pains to discount Puritan stereotypes and to individualize and motivate his characters. The manuscript alternates between private and intimate glimpses of the principal characters and lengthy chronicle passages based on historical records such as William Bradford's Of Plymouth Plantation. Though the material is too un- wieldy for a screenplay, it eventually provided the basis for Sandburg's 1948 novel, Remembrance Rock. These documents are part of the Carl Sandburg collection in the Rare Book Room of the University of Illinois Library. The corrections in his drafts are apparently in his hand. 229. BROTHERHOOD OF EVIL Brotherhood of evil / screenplay by Ben Hecht ; from the novel by Frederick Sonder, Jr. Final script. 1959 Nov 10. 139 leaves ; 29 cm. Mimeo. Dialogue and action; numbered shots. PLOT SUMMARY AND COMMENT: Young Angelo Ticca, an im- migrant from Sicily, arrives in New York. In exchange for his passage, he is carrying a shipment of heroin destined for the New York Mafia. Mafioso chieftain Francesco Massina, who knew the Ticca family back home, takes Angelo into his employ. Massina has been urging Mafia boss Piccole Fregosa, who is 80, to retire, but the old Don refuses. At Massina's urging, the council votes to bump him off. The job is assigned to Angelo and Massina's son Joe. Massina sets Fregosa up by arranging to dine with him at Louie's Restaurant. While Massina is called away to the telephone, the two burst in and do their work. A street policeman hears the shots and catches them redhanded, but his corrupt superiors perpetrate a coverup. Angelo begins having an affair with Massina's daughter, Dolores. Their trysting place is at one of the accounts of Massina's trucking firm, Zimmerman's, a wholesale meat establishment. When Angelo is late one day, Zimmerman tries to rape Dolores. Angelo catches him in the act, kills him, and hangs him up like a carcass in his meat locker. Angelo and Dolores are married on the Fourth of July. Tipped off by Louie Polio, owner of the restaurant, narcotics agents descend on the wedding party and arrest Angelo for possession of heroin. The 96 mob's corrupt lawyer, however, gets the case dismissed on a technicality. In retaliation, Massina's men pour gas on Louie and set him afire. Joe Massina wants a bigger piece of the action and rebels against his father. He invites Tough Tommy Lugano, who controls the Brooklyn docks and who has a reputation for treating women brutally, to a private party at one of his houses of prostitution. Joe turns his girl friend, Sandy, over to Tough Tommy. When she resists him, Tommy in a drunken rage throws her through a third-floor window. Joe oblig- ingly disposes of the body and uses the opportunity to finagle a part- nership out of Tommy. Joe is now in a position to offer his father a lucrative deal. His men on the docks can take direct possession of heroin shipments free of customs or police interference. Angelo now has a son, Nicky, four years old. Dolores is pregnant again. They try to live an outwardly normal life in their neighbor- hood. One day one of their minions, Peewee, a dope addict in need of a fix, tries to rob one of their neighbors and in insane desperation slaughters the whole family. Dolores hears the shots and rushes to in- vestigate. She faints at the gruesome sight; the experience causes her to miscarry. Angelo kills Peewee with a poker. This time Angelo is convicted of manslaughter and sent to Sing Sing for two years. While he is in prison the rackets flourish, and when he gets out, Massina pre- sents him with a new title, "Don Cheecho Angelo." But Dolores has now seen the consequences in human misery of racketeering, and she leaves Angelo for good. Angelo takes up with a society divorcee, Dana James. Narcotics agents bug the New York hotel room where they meet and pick up enough information to make several prime busts. Joe Massina, who is jealous of Angelo's ascendancy in the mob, convinces the council that Angelo is responsible and obtains their assent to kill them both. Joe sees to the deed himself and stuffs the two bodies into the pulverizing apparatus of a garbage truck. Joe's dying father turns over to him the secret files on the operation of the rackets. At the fadeout, "The face of Joe continues to gleam with exultation as he reads the secrets of Frank Massina's evil power that now belongs to him." DIDN'T HE RAMBLE Didn't he ramble / by Thomas Rickman ; from a story by Vernon Richards. - [1974?]. 97 leaves ; 29 cm. Photoreproduction. Dialogue and action; numbered scenes. PLOT SUMMARY AND COMMENT: Screenwriter's personal copy. Written ca. 1974. New Orleans, the present Felix Lusco, in his late twenties, is a born nonconformist. He does poorly in his job as a bonds and security 97 salesman. In his personal life he approaches others with a mixture of irony and defiance. His fiancee, "Lady" Moore, is very ambivalent about her feelings toward him. On the same day Felix loses his job, Lady takes him to dinner to meet the family of her close friend, Anna Cummings. Anna has married into wealthy Southern aristocracy that has seen better days. Her husband, Paul, has no occupation, drinks too much, is suicidal, and plays at amusing himself with expensive photographic and videotape equipment. His cigar-smoking 70-year- old mother is haughty and imperious and a calculated eccentric. On the streetcar that afternoon Felix had overheard a woman telling the driver the story about what her husband did when he learned he only had six months to live. At the dinner table, slightly drunk, Felix tells everyone that he only has six months to live, and that he is spending his remaining time devoted to the service of others. Lady seethes with rage, but Mrs. Cummings is taken in and moved by the story. When she gets Felix alone, she begs him to become a companion to her son and try to instill a sense of purpose in him and gives him a check for $5000. Next day Lady kicks Felix out of their apartment and, with no place else to turn, he goes to the Cummings'. One of Paul's hobbies is jazz in particular, the blues songs of a black guitarist, Delta Jackson, who did some recording in the late 1930s and then vanished into oblivion. By chance Felix has heard that Jackson is still alive somewhere in rural Mississippi, and he and Paul set out with cameras and tape recorder in the Cummings' long black Mercedes limousine in search of him. They find him living in a share- cropper's cabin. Felix is very moved at how Jackson has made his peace with life and with his simple philosophy. (A man going down the road of life, Jackson tells him, has "got learn when to zig and when to zag. Blues is a man zaggin' when he s'pose to be ziggin.") When they get back home, Lady has taken up with the veterinarian at the Cummings' horse farm and Anna is having an affair with his brother. Paul, who is now in on Felix's lie, tells his mother. He thinks she will be forgiving, since Felix has begun to succeed at his mission anyway, but she is outraged. Felix takes a whole bottle of sleeping pills and hovers between life and death for two days. When he wakes up, Delta Jackson is at his bedside, all is forgiven, and Felix's life is now zigging when it should be zigging once again. 231. DISENCHANTED, THE The disenchanted / screenplay by Francis Ford Coppola ; from the novel by Budd Schulberg and the play by Budd Schulberg and Harvey Breit ; Warner Bros. ; Seven Arts Inc. -- Temporary first draft. - [197?]. 156 leaves ; 29 cm. Photocopy. Some specific camera instructions; dialogue and action. 98 PLOT SUMMARY AND COMMENT: The 1920s; a lavish party at a palatial house overlooking the beach at Malibu. One of the guests, Victor Milgrim, a film producer, tries to interest his host, famous writer Manley Halliday, in coming to work for him. Milgrim asks, what if he just signed the check and let Halliday fill in the amount? The writer answers, in that case he'd write it for ten million, buy the studio, and burn it down. Jere Halliday appears, the epitome of the Jazz Age woman. She lures Manley out to the beach and runs and hides among the cavelike rocks. As Manley follows her in the darkness, the action switches twenty years forward in time. Two men interrupt Manley's evening stroll on the beach. One is Milgrim; though Manley is now sadly down-on-his- luck, Milgrim still wants him because of the prestige of having a famous writer in his stable. The other is Shep Stearns, a young man who has written his first screenplay, Love on Ice, about a waitress who gets invited to a winter carnival at a fashionable New England col- lege. The story needs work; Manley and Shep are to collaborate. Shep, who is awestruck at the prospect of working with the great Manley Halliday, pleads with him to take the job. Manley does it because he badly needs the money. Next day at the studio, Milgrim informs them they must travel East, working on the story as they go, meet in New York, travel with him to the college where the film is to be shot, and have a complete story outline ready when they arrive so that the principal backgrounds can be shot on location. When Shep and Manley are getting to know one another before beginning work, Shep asks whether there is a real- life counterpart of the heroine of Manley's most famous novel; this sets off the first in a series of subjective flashbacks scattered through the story tracing Manley and Jere's relationship. Not knowing that Manley is a reformed alcoholic poised precariously on the edge, Shep breaks out a bottle of champagne on the flight to New York and coaxes him to take a drink. This sets Manley off on a bender that continues for the rest of the story. In New York, with Shep playing nursemaid, Manley makes the rounds of the places he and Jere used to frequent. On the train bound for New England, he picks a fight with Shep's former classmate, passes out in the men's room, causes Shep and him to be left behind when the train makes a brief stopover at a remote New England village, and wakes Victor Milgrim in the predawn hours to relate a story inspiration to him. At a faculty reception in his honor at the college, Manley is asked to say a few words on the art of the cinema, and he obliges with an off- color story about how Leonardo, being asked once to speak on the art of the mural, opined that "it looks like a lot of horse crap to me." In- furiated, Milgrim fires them both, vows neither of them will ever work in Hollywood again, and orders them onto the next train back to New York. 99 In the city, Manley insists on being taken to Jere's. Unlike the wraithlike figure of the flashbacks, she has grown middle aged and heavy, though she still dresses and wears her hair in the style of twenty years before. At Jere's, Manley, dissipated and diabetic, collapses; a doctor is called; at the end Shep holds Manley tenderly in his arms. 232. GAMBLERS, THE The gamblers / screenplay by Milton Krims ; from the novel by Fedor Dostoieffsky. - 1937 May 3. 208 leaves ; 29 cm. Original typescript. Dialogue and action; cover marked "Wallis". PLOT SUMMARY AND COMMENT: Very little has been retained in this script from the source novel, The Gambler (1864). The story is updated to the present. Dostoieffsky's first-person narrator, Aleksei Ivanovich, private tutor in the family of the General, has been re- placed by a young Englishman, Peter Allenby, former teacher at a boys' school in Sussex. De Grieux, in the novel the General's associate who holds some kind of financial power over him, has become the Marquis de Griers, silent owner of a casino on the French Riviera. Mile. Blanche, in the novel the General's opportunistic fiancee, is in cahoots with de Griers, and works her con games on the men who gamble at his place. The Marquis is impressed with Peter, who beats him at one of his own games, by pretending to commit suicide and then making off with the money planted on his "body" by the casino to make it appear gambling losses weren't the cause. The Marquis has him engaged at the casino to use the house's money to encourage other players by his own reckless play. One who falls into the trap is a Russian general, Count Osten-Sacken. As in the novel, he has a daughter (Polina, here Katje) with whom the protagonist falls in love. Because of her, Peter begins to discourage the General from getting in deeper, and for this is called onto the carpet by the casino manager. The General wins at first but eventually loses everything he has. He goes into debt to the casino for an additional hundred thousand francs, but quickly loses this too. Mile. Blanche then persuades him to sign over the title to his aunt's estate, which he is in line to inherit, to the Marquis for additional loans. Meanwhile, the worried daughter has notified the aunt, who flies in from Russia, sizes up the situation, takes her place at the roulette table, and has a stroke of beginner's luck. Inevitably, she returns to the table and loses heavily. The General shows up to dissuade her. At this point, after 207 pages, the script ends. Four additional synopsis pages detail how the story might proceed to its resolution. Given the nature of the material presented 100 in these pages, such a resolution would involve at least 150 additional pages of script. An unrelated version of Dostoyevsky's novel was made at MGM in 1949 under the title The Great Sinner. Ladislas Fodor, Christopher Isherwood, and Rene Fullop-Miller received screenplay and story credits; Dostoyevsky was nowhere mentioned. Dostoyevsky's story figured conspicuously in the 1974 Paramount production The Gambler, starring James Caan. 233. HEAVEN CAN WAIT Heaven can wait / screenplay by Francis Ford Coppola ; suggested from the play by Harry Segall. First draft. 1969 Jan 27. 125 leaves ; 30 cm. Mimeo. Title page amended in pencil to read "Here comes Mr. Jordan". Script preceded by a note regarding the style of dialogue suited for Bill Cosby. Numbered sets; dialogue and action. PLOT SUMMARY AND COMMENT: Joseph Sweetwater ("Sweet Joe") is a black boxer in East Los Angeles who has aspirations to become heavyweight champion. He is managed by "Calamity" James; his friends are Poco, a Mexican-American, and Bunkie, Lanks, and Freddie Freeloader. As he is riding the cable car up Bunker Hill one day, playing his saxophone, the cable snaps and the car plunges down the hill and crashes. On a way station toward heaven, Joe learns from Mr. Jordan, who is in charge, that a new man on the job mistakenly pulled him out of his body before the car crashed, and therefore he isn't dead. Joe arrives at his own funeral and watches as his friends make preparations to carry out his last wish to be cremated and have the ashes strewn up and down the stairs in the hallway of Olym- pic Auditorium. Together, Joe and Mr. Jordan search for the perfect substitute body, one that will enable Joe to be a contender for the heavyweight crown. After rejecting a samurai, a circus strongman, a ballet dancer, and a bull fighter, Joe settles on Bruce Hughie, a wealthy Beverly Hills jetsetter and former athlete, who is white. Joe takes over Bruce's body just as he is being murdered in his bath by his wife, Julia, and her lover, Tony. That night Joe, as Bruce, rejects Julia's seductive advances, locks himself in his bathroom, and sleeps in the bathtub. Next day he drives to the old neighborhood in Bruce's white Ferrari and asks his former manager to come see him the next day. Joe as Bruce makes a restaurant date with a female telephone caller. She turns out to be Bruce's black mistress, Rosemary Wilson, whom he kept in a fancy apartment and gave a monthly allowance. Joe takes a liking to her and berates her for selling herself in this way. Before, Rosemary secretly hated Bruce. Now she begins to like him. 101 When Joe's former manager and his friends come to the Beverly Hills mansion, he tells them everything. They are finally convinced by his story when he produces his old, dented saxophone (a gift from them) and starts to play. Joe has his former manager arrange a cham- pionship bout for him (as Bruce) and goes into training. He talks Rosemary into moving out of her apartment and relocating with her own kind in East Los Angeles. As he is helping her move an ancient vanity that belonged to her mother to her new apartment, a messenger from Jordan arrives to tell him he'll have to give up Bruce's body very shortly. Back at the Beverly Hills mansion Joe is arguing over the situation with Mr. Jordan when Julia appears with a gun in hand and shoots him. The Weaver-Olson championship fight is under way. Weaver's manager, who has secretly arranged to throw the fight, drugs the boxer between rounds. As Weaver dies under what is intended to be the referee's final count, Joe enters his body, revives, and wins the fight. Still in his boxing shorts, he rushes to the police station and pre- sents himself as a witness to Bruce's murder or actually, murders. A bewildered and shaken Tony implicates Julia in an attempt to save himself. Joe's identity merges into Weaver's. He and Rosemary meet in a corridor in the police station, not recognizing one another. But the pangs of their previous attraction are stirred, and at the end we see them carrying Rosemary's vanity through the streets to her new apartment. This is a first draft adaptation of the play Heaven Can Wait, which was the source for the 1941 film Here Comes Mr. Jordan. The part of the boxer, played by Robert Montgomery in the original, has been especially written for Bill Cosby. A prefatory note gives the following information: "The dialogue style for Heaven Can Wait will be a con- temporary, Jazz-Negro-oriented, ad-lib variety, fairly impossible to write down in a script. Therefore, although the scenes are written out fully, let them serve more as a guide for Bill Cosby and his co-actors to create a more relaxed and informal pattern." Although it is based on the same original work, this script appears to be unrelated to the 1978 Warren Beatty production. 234. HUCKLEBERRY FINN Huckleberry Finn / by James Poe. [19??]. 198 leaves ; 29 cm. Mimeo. First leaf of script contains title: Huckleberry Finn (roadshow version). Dialogue and action; numbered shots; intermission indicated. PLOT SUMMARY AND COMMENT: This script envisions a big budget spectacular in widescreen and stereophonic sound, with a ten- 102 minute intermission in the middle, and containing a series of elaborate production numbers: a reconstruction of "The Floating Palace," a giant circus barge with an amphitheater seating 2,400 that toured along the Ohio and Mississippi Rivers in the 1850s; a genuine Mississippi River thunderstorm, shot on location; an old-time minstrel show to include several well-known faces and voices in the troupe of fourteen; and a climactic steamboat race on the Mississippi in which one of the boats (not a miniature) actually explodes and is totally destroyed. The plot is essentially derived from Mark Twain's Adventures of Huckleberry Finn, with material from Life on the Mississippi worked in, but a lot of the story is original. Poet Carl Sandburg, speaking from his book-lined study, in- troduces the story (in this prologue the frame is in Academy aspect ratio). Dissolve to a helicopter shot showing the broad expanse of the Mississippi (the frame expands to full widescreen ratio). The story opens at the riverside on a quiet Sunday afternoon near Hannibal, Missouri, in 1848. As a choir sings "Shall We Gather at the River," a black preacher baptizes a group of slaves. Nearby, the Baptist con- gregation of Hannibal is assembled for the baptism of Huckleberry Finn, a motherless 12 -year-old who has been deserted by his drunken father and taken in by two elderly sisters, the Widow Douglas and Miss Watson. Huck is next shown trying to do his multiplication tables but being distracted by the sound of a steamboat whistle. A slave trader who was on the arriving steamboat comes to see the two sisters, liberating Huck from his lessons. Huck goes down to the wharf and watches excitedly as the preparations for the steamboat's depar- ture are being made. He anxiously asks the captain, a kindly man named Bixby, if he's big enough to become a river apprentice yet, and is crestfallen when he's told to wait until he has finished school. At this point the story begins to follow Adventures of Huckleberry Finn more closely. Pap arrives and threatens Huck. Jim is to be sold to the slave trader. Huck and Jim run away together and hide out on Jackson's Island. Huck goes ashore dressed as a girl and learns that their hideaway is about to be discovered. Huck alerts Jim and they take off down the river. Their aim is to land at Cairo, where Jim can make his escape to free territory, but a few days later they learn they've overshot their mark and are drifting toward the Deep South. Their adventures along the river are familiar: They are separated when a steamboat runs over their raft in a fog. Huck is taken in by the Grangerfords, who are feuding with the Sheperdsons; Huck sees his new friend Buck killed in an episode of the feud. After they are reunited, Huck and Jim encounter and become travelling compan- ions of the Duke and the Dauphin, two lovable con men who work the towns along the river. In one town, Huck watches as Colonel Sher- burn guns down the white trash Boggs, then confronts the lynch mob that comes after him and calls them riff-raff and cowards. The Duke and The Dauphin give a show at which they are recognized by a number of their earlier victims and taken out and tarred and feathered. 103 Now the script departs widely from the novel once again. Pap and the slave trader, who have been in hot pursuit of Huck and Jim all along, catch up with them. The two escape by managing to get aboard a steamboat just as it is taking off (Jim narrowly escapes being torn in two by the paddle wheel). Their pursuers pay a second steam- boat operator to set out after them. As it turns out, the first craft is under the command of Huck's old friend Captain Bixby, an aboli- tionist who is sympathetic to Jim's cause. A spectacular race ensues. As they steam neck and neck up the narrow channel, suddenly there is an explosion aboard the second craft, and Pap and the slave trader are both killed. Captain Bixby will help Jim escape to his freedom. He also determines that Huck is big enough now to be taken on as an ap- prentice pilot. In the final shot, as Huck Finn in his new black ap- prentice cap looks intently on, the pilot swings his weighted line in the water and counts off, "By the mark, four ... by the mark, three . . . by the mark, twain." The proposed appearance of Sandburg in- dicates that this script was written before July 22, 1967, the date of the poet's death. 235. JOAN OF ARC Joan of Arc / by Ben Hecht. Second draft. 1946 Nov 12. 150 leaves ; 29 cm. Mimeo. Dialogue and action; occasional camera notes in play- script format. PLOT SUMMARY AND COMMENT: As we fade in on a bookshelf lined with books about Joan of Arc, a narrator begins to tell her story. We are in the Vatican library; the narrator is a priestly scholar who is writing a study of Joan. For one marvelous year the young peasant girl was the savior of France, leading her armies in victorious battle against the English. But one evening in May 1430, she was captured in battle by the Burgundians, who were allies of the English. (As the voiceover continues, we see scenes from the time: horsemen going from town to town spreading the news of her capture, the reactions of her countrymen, churchmen offering up prayers for her safe deliverance, and so on.) According to the narrator, French puppets of the English allowed them to manipulate Joan's trial and dictate her fate according to military and political considerations. And Charles of Lorraine, who was restored to his kingdom and crowned by Joan herself, bowed to the wishes of advisers and military men jealous of her reputation and deserted her. As we see preparations for Joan's im- pending trial at Rouen on the screen, the narrator tells us that in this drama we will hear Joan's story in her own words, as it was taken down by two court reporters, William Manchon, a priest, and William Colles, a notary. 104 Father Massieu, who has compassion for Joan, arrives at the tower of the castle to escort her to the first session of the trial. She is in chains, wears men's black hose and a short dark jacket, and her ruffl- ed hair is cut like a page boy's. Massieu says her clothes will only fur- ther antagonize her inquisitors and urges her to change them, but she says no because this is the way she led her troops. She is led through an unruly crowd to the court. Sketches of the principals who will dominate her trial are given: Pierre Cauchon, a bishop, the judge, the figure of authority without humanity; D'Estivet, the prosecutor, who has a personal hatred of Joan because of her treatment of him when she was in charge of her armies; Jean de la Fontaine, legal ex- pert, a scholar but nonetheless a man of the heart; and four Englishmen: the Duke of Bedford, who is actually pulling the strings behind the scenes, the Earls of Warwick and Stafford, and De Macy, a court Lothario. On the first day Joan politely answers the court's questions about her past and her visions, but refuses to answer specific questions about what signs were sent through her to King Charles. Cut to a fifteenth-century social event in the castle that evening. The Duke of Bedford is determined that Joan will be put to death in order to take the wind out of her followers' sails, and we learn that he has promised to make Cauchon Bishop of Rouen if the trial turns out right. The ladies joke with De Macy about Joan's virginity and what he might do about it for the good of his country. Arrangements are made for Nicholas, a priest in the service of the Earl of Stafford, to go to Joan disguised as a shoemaker from her region. He will get into her good graces and manipulate her into renouncing her visions. On the way to the trial a second day, Father Massieu halts the pro- cession at a chapel to allow Joan to pray. Under questioning at the trial, Joan proclaims that in seven years France will be free of the English. This enrages the Earl of Stafford, who rushes at her with a sword. De Macy comes between them and disarms him; Joan gets the sword and rises up defiantly. The incident arouses sympathies in Joan's favor, and the jurors fall to arguing among themselves. The Duchess of Bedford and Warwick try to help Joan by taking a dress to her, but she refuses to wear it. Because the day's events were favorable to Joan, Bedford orders Cauchon to dispense with pro- ceedings in open court and examine Joan himself in her cell instead. De Macy asks permission to try to make love to Joan. Bedford grants it, with the hope she will give in and therefore provide an opportunity to tarnish her image, but Joan resists and fights De Macy off. That night a burning light appears in a corner of Joan's cell, but this time there are no angelic voices. The ordeal of questioning continues in Joan's cell. At one point she is removed to the dungeon, placed on the rack, and threatened with being torn apart unless she abjures her claims. The soldier guards 105 continue to taunt and abuse her. Nicholas, who has succeeded in becoming her confidant, says he brings messages from both her mother and King Charles that she must save herself. Frightened, weak, and desperate, she follows what she thinks are their orders and next day makes a full confession in public. Cauchon and Bedford argue over the consequences. The Bishop says that since she is now guiltless in the eyes of the church, she should be sent to a convent to spend her life in atonement; Bedford wants her killed because she will continue to be an inspiration to her followers as long as she is alive. Now Joan recants her confession. (Angels came to her in the night and put her back on the right path again.) Bedford sees now that Joan will triumph in her martyrdom. On the processional to her death, Nicholas falls at her feet and asks forgiveness. English soldiers take him for one of her followers and brutally hack him to death. As she is burned at the stake, Joan forgives all. This script is apparently unrelated to the 1948 film produced by Walter Wanger, directed by Victor Fleming, and based on the play by Maxwell Anderson. 236. KING KONG King Kong / by Bo G<5ldman. 1975 Sep 15. 105 leaves ; 30 cm. Photocopy. - Dialogue and action. COMMENT: In the mid-1970s Universal Studios and Dino De Laurentiis/Paramount were both moving ahead independently with plans for remakes of RKO's 1933 classic. How this came about is detailed by Andrew Tobias in an article in New York magazine, "The Battle for King Kong," Feb. 23, 1976, pp. 38-44. By eventual agree- ment of the various principals, the Universal version, scheduled to go into production early in 1976, was shelved; the De Laurentiis version proceeded and was released in December 1976. In the De Laurentiis version, the story was updated to modern times. In the Universal script, however, the original setting and story are maintained and on- ly some of the basic values and attitudes are updated for instance, the New York scenes are more grittily realistic, sexual matters are treated much more openly (Ann and Driscoll are shown nude together in bed), and the "film and filmmaking" allusions are more frequent and explicit (Ann was thrown out of work when the Astoria Studios in Long Island City were shut down). The major structural changes involve the addition of an opening scene in which Ann is seen watching the monkeys being fed at the Central Park Zoo, and of an epilogue, set twenty years after, showing Ann and Driscoll and their child Evie on Sumatra, where Driscoll is now a game warden. Ann is transfixed by a pounding in the far distance in the Indonesian twilight. 106 237. KISS ME DOCTOR Kiss me doctor / a picture play by Preston Sturges. [19??]. 128 leaves ; 36 cm. Typescript on onionskin. -- Prefatory author's note on separate leaf. Occasional notations and markings throughout. - Handlettered cover initialed "ps". Dialogue and action in two columns. PLOT SUMMARY AND COMMENT: Miriam, daughter of a wealthy American businessman, is an art student in Paris. One day she has a sore throat, and the doctor from the floor below in her pension is sum- moned. The doctor has a long, bushy beard which he is very proud of, but Miriam thinks it looks ridiculous and makes fun of it. The doctor falls in love with her, but she rejects him; she can't take seriously a man who is so unprosperous and unsuccessful at his profession. Miriam's father, a blustery self-made millionaire, arrives to take his daughter back to America and won't hear of letting her stay longer. The doctor comes up with a scheme that will win her a reprieve: phony contracts of marriage will be drawn up between them, and his lawyer will threaten the father with a lawsuit if he attempts to take her away. Meanwhile, with great reluctance the doctor has his beard shaved off. No one recognizes him now. The father, not knowing now who he really is, sees him as a good prospect for diverting his daughter's attention away from her doctor-fiance and engages him. When Miriam and the new suitor are alone together, he confesses who he is and offers yet another scheme to help her: he will say that everything is arranged, and that Miriam will give up her doctor if she will be allowed to remain in Paris for three more months. The father reluctantly agrees. During this interim, the doctor's fortunes change radically. On the evening he and Miriam concocted the scheme, they were dining out together when he was called to the rescue of a fat man choking on a hardboiled egg at a table nearby. As it turned out, the fellow diner was a famous senator; the incident got widespread attention in the press, and suddenly the doctor is a sensation, much sought after (for both professional and amorous reasons) by all the fashionable young women of Paris. Miriam begins to see him in a new light, but now she has to compete with everyone else for even his slightest attention. Finally, in desperation she fakes an illness, and once again the neigh- borhood doctor is summoned. This time Miriam confesses that she loves him after all. They elope to the village in Normandy where the doctor was born. The father gives chase, but arrives just as the newly- weds are emerging from the church. In the final scene, the American father is demonstrating to his new son-in-law's father, a peasant farmer, how to hold a plow. 107 The author's preface states that "The principal part in this play [the doctor] was written especially for Maurice Chevalier. The sup- porting roles were written with the following artists in mind: Miss Miriam Hopkins [the artist], Missjobyna Howland, Miss Ilka Chase, Mr. George Barbier [the father], and Mr. Eugene LaPallette." This script is undated but was undoubtedly written in the early to middle thirties. (Chevalier left Hollywood in 1935 and did not return to American films until the 1950s; Jobyna Howland died in 1936.) The handwriting on the cover is apparently Sturges's. The script turned up in a small packet of Sturges material on a rare book dealer's shelf. It is a previously unkown Sturges item and may be the only surviving copy. 238. LEAVINGS OF B.T. WOMACK, THE The leavings of B.T. Womack / written by Thomas Rickman. - [1975?]. 117 leaves ; 29 cm. Photoreproduction. Dialogue and action; numbered scenes. PLOT SUMMARY AND COMMENT: Screenwriter's personal copy. Written ca. 1975. A Depression-era story, with characters who seem a cross between John Steinbeck and Flannery O'Connor. In Palm Beach, Florida, two men, Link and Red, rob an armored truck. Trying to outrun the police, the crooks fail to clear a crossing in the path of an oncoming train. Red gets clear of the wreck and narrowly escapes through the swamp. Later, beside a railroad track, he comes upon a dying hobo. The old man's "leavings" are a few items of junk in a tin can and a let- ter, identifying him as B. T. Womack, and entreating the reader to bury his body. In return, a rich reward is promised, if the bearer will go to a certain location in California (a map is drawn at the bottom) and follow the clues. A widespread manhunt by the Florida police forces Red underground, along the familiar Depression road of hobo gangs, freight trains, Hoovervilles, and brutalization by the authorities. Another hobo, Beaver, also knows of the map; he con- vinces Red that it is genuine and offers to help him get across the country in exchange for a share of whatever it leads to. In California, he says, they can use the gains to open a whorehouse. Beaver recruits Aloma, Dee, Fatgirl, and a sadfaced 16-year-old named Jody and opens up a makeshift whorehouse in a town along the way to raise stake money for the venture. The Downtown Kid, another hobo who knows the story, beats Red in a fight and takes the map from him. Red and Beaver go after him (along the way Beaver loses his eyesight after a brutal beating by railroad guards) and finally track him down in an orange grove in California. In the ensuing fight Beaver stabs the Kid with a knife and kills him. 108 Red and Beaver eventually find the reward, a deed to a piece of property near the ocean at Monterey, and in a final happy scene Red and Beaver and the four girls are established in their perfect whore- house in California. ROSENCRANTZ AND GUILDENSTERN ARE DEAD Rosencrantz and Guildenstern are dead / a screenplay [by] Tom Stoppard. First draft. [19??]. 114 leaves ; 37 cm. Photocopy. Dialogue and action; numbered scenes. PLOT SUMMARY AND COMMENT: Rosencrantz and Guildenstern are minor characters in Shakespeare's Hamlet. In Stop- pard's retelling of the story, which was first staged in 1966, they are the protagonists, and we see them, in the words of one of his characters, "do[ing] on stage the things that are supposed to happen off." Rosencrantz and Guildenstern appear flipping coins, which for some reason always come up heads, and conversing in philosophical riddles in the manner of Didi and Gogo in Waiting for Godot. We eventually learn that they have been summoned to the castle by King Claudius. Along the way, they come upon a troupe of itinerant players, whose leader offers to treat them to obscene spectacles for the right price. At the court, King Claudius enlists their services to ex- plore the possible causes of Hamlet's madness. The itinerant players perform "The Murder of Gonzogo" with a special scene added by Hamlet to entrap his father's murderer, King Claudius. Hamlet stabs Polonius through the drapery behind which he is concealed. Claudius sends Hamlet to England in the company of Rosencrantz and Guildenstern, who are bearing a letter in which Claudius has written out Hamlet's death warrant. Hamlet finds the letter and alters it so that Rosencrantz and Guildenstern will be put to death instead. Pirates board their vessel on the high seas. Hamlet escapes with the pirates and returns to Denmark. The closing scene is the closing scene from Hamlet: with the King, Queen, and Hamlet all dead, with only Horatio left behind to mourn, and with Fortinbras about to take con- trol of the kingdom, ambassadors arrive with the news that Rosen- crantz and Guildenstern are dead. In his screenplay Stoppard has greatly condensed the many lengthy passages of philosophical dialogue and has altered much of the material in the direction of visual spectacle. The opening scenes, for instance, which are intended to demonstrate visually that "something is rotten in the state of Denmark," are reminiscent of the opening scenes of Bergman's The Seventh Seal; the travelling players appear performing on a large stage boat; at one point Rosencrantz and 109 Guildenstern are seen as pieces on a giant chess board. Stoppard also resurrects two minor characters from Hamlet, Voltemand and Cor- nelius, who are not in his play, as foils to Rosencrantz and Guildenstern. Otherwise, Stoppard's script is very close to his play. 240. TRILBY 240a. Trilby / screenplay by Ben Hecht and Charles MacArthur. First draft continuity. 1948 Apr 27. 128 leaves ; 28 cm. Mimeo. Dialogue and action; numbered shots. 240b. Trilby / screenplay by Ben Hecht and Charles MacArthur. - [1948?]. 110 leaves ; 30 cm. Mimeo. Dialogue and action. PLOT SUMMARY AND COMMENT: Billee Bagot, a young painter in the artist's colony in Montmartre, falls in love with a model, Trilby O'Farrell. When they decide to marry, Billee's mother objects and confronts Trilby with some unsavory sexual insinuations about her past. Trilby walks out and falls under the strange influences of Svengali, a professor of music. Svengali hypnotizes her, and under his spell Trilby becomes a renowned concert performer. Svengali is killed by his old Gypsy attendant, and Trilby and Billee are reunited. In the first version of the script the setting is 1914, and the events of the story are recalled by two Englishmen, former residents of the colony who pay a return visit 25 years later. In this version Trilby and Billee are reunited, but the still frail Trilby sees a photograph of her former master one day, falls under his spell once again, and dies. In the sec- ond version the setting is 1890, the lovers are reunited, and the story closes with a celebration gathering on the eve of their wedding. Documents in the Ben Hecht collection in the Rare Book Room of the University of Illinois indicate that this property was originally being developed by Jesse Lasky and Walter McEwan as an American vehicle for James Mason. June Allyson, Rita Hayworth, Cathy O'Donnell, and Joan Leslie were among those being mentioned for Trilby (see Picturegoer, Aug. 28, 1948). A later plan called for "Trilby" to be shot in England with Warner Brothers backing, with Joan Fontaine in the title role. As late as December 1950 Lasky was still trying to get the project mounted, but the following report from a reader at MGM must have been highly discouraging: I read the Hecht and MacArthur script on Trilby. I still think that the property itself is superb, particularly for Pinza. But as a purely personal opinion, I think the Hecht and MacArthur screenplay is practically useless. 110 They built the script around the wrong people. The big asset of the story is that tremendously dynamic driving powerful character of Svengali his character, his desires, his problems, and his bravura way of getting what he wants (even though he fails in the end) but this screenplay fools around with a milk-and-water little romance, and uses Svengali in perhaps 15% of the footage as the contrived obstacle to temporarily break apart the lovers. I'm not against the love story at all, the picture has to have it. But the logical picture has Svengali carrying the flag, supported by the love story. 241. CBS PLAYHOUSE. SADBIRD CBS playhouse. Sadbird / by George Bellak. Final revised. 1969 Sep 21, c!968. 140 leaves ; 29 cm. Photoreproduction. Dialogue and action. COMMENT: "Can a hirsute swinger reject his hippie heritage and learn to love the Establishment?" (Scott MacDonough in TV Guide}. This episode of CBS Playhouse was aired on Monday, December 1, 1969. The script is part of a series made available for educational purposes by the Writers Guild of America, West. 1969 Director: William A. Graham Teleplay: George Bellak CBS 242. F. SCOTT FITZGERALD IN HOLLYWOOD The screen test : F. Scott Fitzgerald in Hollywood / by James Costigan. Revised screenplay. 1974 Oct 1. 136 leaves ; 29 cm. Mimeo. -- Numbered shots; dialogue and action. COMMENT: This is a script for an ABC television movie broadcast March 7, 1976. 1976 Producer: Robert Berger Director: Anthony Page Teleplay: James Costigan A Titus Production / ABC 111 243. HEIDI Heidi / by Earl Hamner ; based on the book by Johanny [sic] Spyri ; director Delbert Mann. Revised final draft. 1967 Sep 18. 101 leaves ; 29 cm. Photocopy. Dialogue and action; numbered shots. Writers Guild of America cover: from the novel by Johanna Spyri. COMMENT: This is the script for a television movie broadcast on NBC on Sunday, November 17, 1968. "A superb fourth film version of the all-time favorite children's novel and the first in a series of movies based on literary classics put together by Frederick Brogger and James Franciscus (through their Omnibus Productions) and director Delbert Mann. . . . Making her acting debut in the title role: [Jennifer Edwards] the daughter of Blake Edwards and Julie Andrews." Alvin Marrill, Movies Made for Television (1980). The script is part of a series made available for educational purposes by the Writers Guild of America, West. 1968 Producers: Frederick Brogger and James Franciscus Director: Delbert Mann Teleplay: Earl Hamner, Jr. Omnibus Productions 244. LITTLE WOMEN Little women. Parts one thru five / screenplay by Suzanne Clauser ; based on the novel by Louisa May Alcott ; producer, David Victor. - 1977 Dec 22. 293 leaves ; 29 cm. Photoreproduction. Dialogue and action; numbered shots; parts indicated. Cast list and sets list precede script on 3 unnumbered leaves. ~ Production #85193. COMMENT: This four-hour made-for-television movie was shown on NBC in two parts on October 2 and 3, 1978. "A lavish fourth filming of the classic novel of family life during the Civil War (previously made in 1919, 1933 and 1949), and the sixth (at least) TV presenta- tion, sparking a weekly series that begins in January 1979. Dorothy McGuire, playing Marmee here and in the series, had been scheduled to portray Meg in David O. Selznick's abortive 1947 movie version, while Greer Garson made her TV-movie debut in this sugarplum pro- duction (Mildred Natwick took over her role in the later series)." Alvin Marrill, Movies Made for Television (1980). 112 1978 Producer: David Victor Director: David Lowell Rich Teleplay: Suzanne Clauser Universal 245. NIGHT THAT PANICKED AMERICA, THE "Please stand by" : a film for television / by Nicholas Meyer. - 1975 Mar 11. 136 leaves ; 28 cm. Photocopy. Dialogue, action, camera; numbered shots. - Includes one sheet titled: A note about the radio play. COMMENT: This television movie was a fictional reenactment of the 1938 War of the Worlds radio broadcast and its dramatic aftermath, with Paul Shenar portraying Orson Welles. It was shown on ABC on Friday, October 31, 1975. 1975 Executive producer: Anthony Wilson Producer: Joseph Sargent Director: Joseph Sargent Teleplay: Nicholas Meyer and Anthony Wilson Paramount 246. NORMAN ROCKWELL'S AMERICA Norman Rockwell's America / written by Herbert Baker, Treva Silverman ; produced and directed by Bob Henry. Final draft. - 1969 Oct 23. 73 leaves ; 29 cm. Photocopy. Dialogue and action; commercials, inserts, music, applause indicated. - Title page: Host, Jonathan Winters; starring Michele Lee; special guest star Dick Smothers; special appearance by Norman Rockwell. VTR: 10/25, 10/26, 10/27, 10/28/69. AIR: Nov 12, 1969, 10:00 pm, NBC-TV studio #3. COMMENT: This special tribute to the artist was shown on NBC on Wednesday November 12, 1969. The script is part of a series made available for educational purposes by the Writers Guild of America, West. 1969 Producer: Bob Henry Director: Bob Henry Teleplay: Herbert Baker and Treva Silverman Bob Henry Productions NBC 113 247. SANDBURG'S LINCOLN 247a. Sandburg's Lincoln. Lincoln, husband and father / by James Prideaux ; executive producer David Wolper ; produced and directed by George Schaefer. Shooting draft. 1974 Mar 21. 60 leaves ; 28 cm. Mimeo. Dialogue and action; numbered scenes; occasional pencil markings. Includes cast of characters, list of bits, nonspeakers, interiors, and exteriors. 247b. Sandburg's Lincoln. Sad figure, laughing / by Jerry McNeely. - Revised draft. - 1974 Apr 8. 66 leaves ; 28 cm. Mimeo. Dialogue and action; numbered scenes. Includes cast of characters and sets list. Production #0350. 247c. Sandburg's Lincoln. A. Lincoln, Esq. / story by Emmet Lavery ; teleplay by Irene and Louis Kamp ; executive producer David Wolper ; produced and directed by George Schaefer. Shooting draft. 1974 Apr 15. 60 leaves ; 28 cm. Mimeo. Dialogue and action; numbered scenes. Includes cast of characters, lists of nonspeakers, interiors, exteriors. - Production #0355. 247d. Sandburg's Lincoln. Lincoln, the unwilling warrior / by Jerome Lawrence and Robert E. Lee ; executive producer David Wolper ; produced and directed by George Schaefer. Shooting draft. - 1974 Mar 18. 62 leaves ; 28 cm. Mimeo. Dialogue and action; numbered scenes; some leaves signed "Jackil" in pen. Includes revision leaves through 6/17/74 ; cast of characters, lists of bits and nonspeakers, exteriors. - Production #0354. 247e. Sandburg's Lincoln. Crossing Fox River / by Loring Mandel ; executive producer David Wolper ; produced and directed by George Schaefer. Shooting draft. 1974 Apr 8. 54 leaves ; 28 cm. Mimeo. Dialogue and action; numbered scenes. Includes cast of characters, list of bits and nonspeakers, sets. Production #0353. 114 247f. Sandburg's Lincoln. Within sight of Canaan / by Philip Reisman, Jr. ; executive producer David Wolper ; produced and directed by George Schaefer. Shooting script. 1974 Apr 4. 57 leaves ; 28 cm. Mimeo. Dialogue and action; numbered scenes. Includes cast of characters, lists of bits, nonspeakers, interiors and exteriors. - Production #0351. COMMENT: Sandburg's Lincoln was the series title of a six-part tele- vision drama based on Carl Sandburg's biography. Hal Holbrook starred as Lincoln. "Mrs. Lincoln's Husband" (a title change from "Lincoln, Husband and Father") aired on Friday, September 6, 1974; it was set during the war years and focused on Lincoln's relationship with the moody Mary Todd Lincoln (portrayed by Sada Thompson). "Sad Figure, Laughing," centering on the politically turbulent months of Lincoln's second election campaign, was seen on Wednesday, February 12, 1975. "Prairie Lawyer" (a title change from "A. Lincoln, Esq.") was seen on Monday, April 7, 1975; it dealt with Lincoln's early practice in Springfield and the first stirrings of his political ambition. "The Unwilling Warrior" (a title change from "Lincoln, the Unwilling Warrior") aired on Wednesday, September 3, 1975; it dealt with the agony of the war years and Lincoln's frustrating search for a battlefield commander. "Crossing Fox River," on Lincoln's assuming the Presidency of an already divided nation, was seen on Monday, January 12, 1976. "The Last Days" (a title change from "Within Sight of Canaan") was broadcast Wednesday, April 14, 1976; it portrayed the end of the war and Lincoln's early ef- forts toward a harmonious reconstruction, at a time when he was beginning to be troubled by dreams of his impending death. These materials are part of the Carl Sandburg Collection in the Rare Book Room of the University of Illinois Library. 1975/76 Producer: George Schaefer Director: George Schaefer Teleplays: Various David Wolper Productions NBC 115 Numbers in the indexes refer to entry numbers, not page numbers. PERSONAL and CORPORATE NAMES A. A. Productions, 111 ABC, 242 ABC Pictures, 96 Adler, Buddy, 65 ABPC, 20 Ainslee, Marion, 61, 121 Aladar, Laszlo, 203 Alcott, Louisa M., 110, 244 Alfa Cinematografico, 45 Artran Productions, 73 Allen, C. J. (Chris), 102 Allen, Woody, 7, 145 Allied Artists, 16, 40, 64, 113 Altman, Robert, 26, 90, 115, 118, 193, 216 Robert Altman Productions, 115 American Film Theatre, 88 Anderson, Doris, 221 Anderson, Edward, 193 Anderson, Maxwell, 98 Andreyev, Leonid, 81 Anglo- Allied Pictures, 16 Annakin, Ken, 112 Anya-Transworld Pictures, 111 Aperture Films, 210 Apjac Productions, 145 Arcalli, Franco, 132 Argosy Productions, 151 Armada Productions, 156 Arnaud, Georges, 171 Arnold, Elliott, 23 Artemis Film, 132 Artists Associates, 132 Artists Entertainment Complex, Inc., 49 Arzner, Dorothy, 120 Aspen Productions, 118 Associate les Productions GmbH, 132 Associated Film Distribution, 94 August, Joseph, 150, 162, 209 Aurthur, Robert Alan, 26 Avco Embassy Pictures, 161 Avildsen, John G., 157 Badalucco, Nicola, 43, 45 Baker, Herbert, 94, 246 Balderston, John L., 190 Baldwin, Earl, 22 Bartow, Lester, 218 Baskin, Richard, 216 Batjac Productions, 106 Baum, Martin, 21 Bavaria Atelier, 59 BBS Pictures, 51 BBS Productions, 99, 101 Beaumont, Harry, 22 Beck, John, 80 Behrman, S. N., 149 Bell, Vereen, 187 Bellak, George, 241 Berger, Robert, 242 Bergman, Andrew, 17 Berman, Pandro S., 14, 175 Berneis, Peter, 72 Bernstein, Carl, 1 Bertolucci, Bernardo, 132 Bertolucci, Guiseppe, 132 Bezzerides, A. I., 192 Bick, Jerry, 193 Bill, Tony, 180 Biro, Lajos, 160 Bischoff, Sam, 4 Blanke, Henry, 108, 201 Blankfort, Michael, 23 116 Blauner, Steve, 51 Blaustein, Julian, 23, 44 Blumenthal, Richard M., 195 Bobrick, Sam, 102 Bodeen, DeWitt, 16 Bogdanovich, Peter, 42, 101 Boorman, John, 47 Boothe, Clare, 116 Boulting, John, 20 Boulting, Roy, 20 Bowers, William, 78 Boylan, Malcolm Stuart, 38 Brackett, Charles, 85, 185 Brackett, Leigh, 156 Brackman, Jacob, 99 Bradbury, Ray, 126 Bregman, Martin, 49 Breit, Harvey, 231 Brickman, Marshall, 7 Bright, John, 148 British Lion, 55 Bronston, Sam, 31 Bronston-Midway Productions, 31 Brodney, Oscar, 80 Brogger, Frederick, 243 Bromer, Mitchell, 115 Brooks, Mel, 17, 84, 147, 227 Brooks, Richard, 98 Brown, Clarence, 5, 61 David Brown Presentation, 180 Brown, Harry (1917- ), 144 Brown, Harry Joe (1892-1972), 217 Brown, Rowland, 4, 150 Browning, Tod, 207 Brownstone and TCR Productions, 82 Bruce, George, 205 Burman, Ben Lucien, 179 Burnett, W. R., 195 Bus-Fekete, L., 83 Butler, David, 38 Butler, Frank, 15 Byrum, John, 210 Caesar, Arthur, 114 Galley, John, 27 Campbell, Alan, 176 Canning, Victor, 56 Carlino, Lewis John, 161 Carson, Robert, 80, 176, 217 Cassavetes, John, 225 Castle, William, 159 William Castle Enterprises, 159 CBS, 241 Chandler, Raymond, 181 Chanslor, Roy, 95 Chapin, Robert, 214 Chartoff, Robert, 157, 210 Chase, Mary C., 80 Chayefsky, Paddy, 117 Chevron Pictures, 211 Cinerama Releasing Corp., 96 Clark, Ron, 84 Clauser, Suzanne, 244 Clements, Calvin, 97 Coblenz, Walter, 1 Cohn, Alfred A., 93 Columbia, 18, 34, 51, 58, 65, 67, 90, 99, 101, 138, 188 Comden, Betty, 168 Conrad, Joseph, 8 Conselman, William, 38 Conway, Jack, 212 Cook, Whitfield, 181 Cooper, Merian C., 151 Coppola, Francis Ford, 8, 39, 73, 74, 141, 231, 233 Coppola Production Company, 74 Gorman, Avery, 134 Costigan, James, 242 Crosland, Alan, 93 Crossbow Productions, 17, 84, 147, 227 Cukor, George, 14, 128, 137, 142, 158, 176, 223 Curtiss, Thomas Quinn, 88 Curtiz, Michael, 4 d'Arrast, Harry d'Abbadie, 199 Daves, Delmer, 23 Davis, Frank, 91, 202 Dawson, Gordon, 21 117 Dino DeLaurentiis Corp., 26 DeLuca, Rudy, 84 Dent, Alan, 79 DeSylva, B. G., 63 De Wolf, Karen, 214 Diamond, I.A.L., 59, 66, 100, 11 Dickey, James, 47 Didion, Joan, 177 Dieterle, William, 108, 190 Dietrich, Ralph, 116 Dominguez, Berta, 41 Donen, Stanley, 168 Dostoieffsky, Fedor, 232 Douglas, Michael, 136 Dratler, Jay, 105 Dreiser, Theodore, 144 Drive Productions, 51 Dudley, Marjorie, 77 Duff, Warren, 4, 139 du Maurier, Daphne, 152 Dumas, Alexandre, 196 Dunne, John Gregory, 177 Dunne, Philip, 86, 104, 143 Ebert, Roger, 13 Edmonds, Walter D., 52 Elfand, Martin, 49, 97 Elwood, Muriel, 110 Embassy Pictures, 147 EMI Films, 94 Endore, Guy, 218 Engel, Samuel G., 127 Enterprise Studios, 19 Epstein, Julius, 165 Evans, Robert, 30 Faces International Films, 225 Fantasy Films, 136 Faragoh, Francis Edward, 62 Farrow, John, 205 Faulkner, William, 172 Feldman, Charles K., 72, 182 Feldman, Louis F., 220 Feldman, Marty, 102 Fellini, Federico, 60 Felton, Earl, 12 Fennelly, Vincent M., 40 Feyder, Jacques, 6 Filmways, Inc., 77 First Artists, 177 Fitzgerald, F. Scott, 103 Fleischer, Richard, 41, 94 Fleming, Victor, 200 Florey, Robert, 62 Ford, John, 29, 52, 75, 86, 125, 127, 146, 151, 162, 179, 198, 209, 215 Ford-Smith Productions, 29, Foreman, Carl, 28 Foreman, John, 177 Foreman, Stephen, 94 Forman, Milos, 136 Fort, Sir Garrett, 62 Foster, David, 115 David Foster Productions, 115 Foster, Norman, 214 Fox Film Corporation, 150, 162, 209, 221 Foy, Bryan, 114 Franciscus, James, 243 Frank, Bruno, 160 Frank, Harriet, Jr., 172 Frankenheimer, John, 88 Fraser, George MacDonald, 41, 196 Freed, Arthur, 168 Freedman, Jerrold, 97 Freeman, Devery, 67 Friedkin, William, 171 Friedman, Stephen J., 101 Froeschel, George, 228 Furie, Sidney, 68 Furthman, Jules, 156, 166 Gardner, Leonard, 58 Gary, Remain, 112 Gelbart, Larry, 134 Geller, Stephen, 169 General Film Distributors, 79 Geria Film, 59 Gilmore, William S., Jr., 102 Ginnes, Abram S., 69 Glasmon, Kubec, 148 Glazer, Benjamin F., 61, 121 118 Glazier, Sidney, 147 Sidney Glazier-Springtime Productions, 147 Gleason, James, 22 Glenville, Peter, 36 Goetz, William, 92 Goff, Ivan, 220 Goldman, Bo, 136, 236 Goldman, William, 1 Goldwyn, Samuel, 226 Goulding, Edmund, 22 Graham, William A., 241 Grant, James Edward, 31 Green, Adolph, 168 Green, Walon, 171 Greene, Graham, 20, 36, 55, 138 Gregory, Paul, 129 Grey, Clifford, 170 Griffith, Raymond, 52 Grimaldi, Alberto, 60, 132 Gruskoff, Michael, 227 Haggiag, Ever, 43 Halevy, Julian, 31 Hamner, Earl, Jr., 243 Harper, Kenneth, 211 Harris, James B., Ill Harrison, Joan, 152, 186 Hart, Moss, 70, 176, 223 Harwood, H. M., 149 Hasenclever, Walter, 6 Hathaway, Henry, 31, 106 Hauben, Lawrence, 136 Hawks, Howard, 71, 87, 156 Hayward, Leland, 125, 135, 174 Hayward, Lillie, 116 Hecht, Ben, 31, 37, 66, 91, 106, 133, 164, 173, 199, 212, 218, 226, 229, 235, 240 Hecht, Harold, 117 Heerman, Victor, 110 Hellman, Jerome, 123 Jerome Hellman Productions, 123 Hellman, Sam, 127, 155 Hemdale Group Production, 90 Hemingway, Ernest, 184 Henry, Bob, 246 Bob Henry Productions, 246 Henry, Buck, 27 Herald, Heinz, 108 Herczeg, Geza, 108 Herlihy, James Leo, 123 Hertzberg, Michael, 17 Hervey, Harry, 166 Highsmith, Patricia, 181 Hill, George Roy, 169, 180 George Roy Hill-Paul Monash Productions, 169 Hitchcock, Alfred, 48, 56, 109, 152, 181, 186 Hoffenstein, Samuel, 35, 105, 114 Hogan, Michael, 152 Homes, Geoffrey, 139 Hooker, Richard, 118 Hornblow, Arthur, Jr., 9, 85 House, Allan, 119 Houseman, John, 10, 92 Houston, James, 219 Huggins, Roy, 67 Hull, Frank, 209 Huston, John, 9, 58, 98, 124, 126, 131, 154, 201 John Huston-Rastar, 58 Huston, Norman, 22 Huxley, Aldous, 92 lies, Francis, 186 Jacobs, Arthur P., 145 James, Henry, 42 Jarmuth, Jack, 93 Jennings, Talbot, 63, 158 Jewison, Norman, 69, 165 Joffe, Charles H., 7 Charles H. Joffe Productions, 7 Johnson, Nunnally, 75, 78, 146, 198 Jones, F. Richard, 15 Jones, Grover, 15, 203 Jones, James, 112 Jones, Paul, 76, 140, 183 Josephson, Julien, 215 Radish, Ben, 91 Kamp, Irene, 247 Ramp, Louis, 247 Rantor, MacRinlay, 228 119 Kaufman, George S., 104 Kaufman, Philip, 219 Kazan, Elia, 53, 54, 70, 103, 143, 182, 202, 213 Keller, Harry, 165 Kelly, Gene, 168 Kenney, Douglas, 130 Kenwood Films, 211 Kern, Robert]., 212 Kerr, Laura, 57 Kesey, Ken, 136 King, Henry, 78, 184, 189, 222 Knott, Frederick, 48 Koch, Howard, 107 Kohlmar, Fred, 104 Komroff, Manuel, 163 Korda, Alexander, 194 Korshak, Harry, 68 Koster, Henry, 80 Kramer, Cecile, 25 Kramer, Stanley, 28 Krims, Milton, 232 Kubrick, Stanley, 11, 33, 111 Kurtz, Gary, 178 Lachman, Harry, 114 La Cava, Gregory, 175 Lake, Stuart N., 127 Landau, Ely A., 88 Landis, John, 130 Lanfield, Sidney, 119 Lang, Fritz, 2, 155, 217 Lardner, Ring, Jr., 118 Lamer, Jeremy, 51 Laurents, Arthur, 204 Lavery, Emmet, 247 Lawrence, Jerome, 247 Lederer, Charles, 37, 71, 87, 174, 199 Lee, Robert E., 247 Lee, Rowland V., 197 Lehar, Franz, 121, 122 Lehman, Ernest, 56 Leider, Jerry, 94 Leisen, Mitchell, 63, 85 Lengyel, Melchior, 3, 160 Lerner, Alan Jay, 128 LeRoy, Mervyn, 110, 125 Lester, Richard, 196 Levien, Sonya, 14, 52 Levin, Ira, 159 Le Vino, Marget, 149 Levinson, Barry, 84 Levy, Alfredo, 43 Levy, Ben, 199 Lighton, Louis D., 202 Lindbergh, Charles A., 174 Lion's Gate Films, Inc., 26, 90, 216 Llewellyn, Richard, 86 Lloyd, Frank, 89 Loewe, Frederick, 128 Logan, Joshua, 125 London Films, 194 London-Reed, 55 London Screenplays, 211 Loos, Anita, 202 Lubitsch, Ernst, 3, 24, 35, 83, 122, 137, 160, 167, 170, 191, 203 Lucas, Cleo, 120 Lucas, George, 178 Luft, Sidney, 176 Lumet, Sidney, 49 MacArthur, Charles, 66, 164, 226, 240 Macauley, Richard, 192 McCarthy, Frank, 141 Frank McCarthy-Franklin J. Schaffner Productions, 141 McCullers, Carson, 82 MacDonald, Phlip, 152 Macgowan, Kenneth, 109 McGuinness, James K., 162 McKay, Brian, 115 MacKenzie, Aeneas, 25 McMurtry, Larry, 101 McNeely, Jerry, 247 Maddow, Ben, 9 Mahin, John Lee, 200 Maltz, Albert, 195 Mamoulian, Rouben, 149 Mandel, Loring, 247 120 Mankiewicz, Herman, 32 Mankiewicz, Joseph L., 50, 104, 142 Mann, Delbert, 117, 243 Mann, Thomas, 45 Marcin, Max, 61 Marion, Frances, 5 Markey, Gene, 215 Marquand, John P., 104 Marshman, D. M.,Jr., 185 Martin, Mardik, 210 Marton, Andrew, 112 Mason, Sarah Y., 22, 110 Mathis, June, 77 Maximillian Productions, 36 Mayer, Edwin Justus, 120, 160, 221 Mayer, Louis B., 81 Mayes, Wendell, 174 Mazursky, Paul, 18, 208 Meagher, E. J., 77 Medioli, Enrico, 43 Martin Melcher Productions, 165 Menzies, William Cameron, 194 Meredyth, Bess, 149 Merson, Marc, 82 Metro-Goldwyn-Mayer, 5, 6, 9, 10, 14, 22, 36, 37, 61, 77, 81, 97, 110, 111, 121, 122, 131, 142, 149, 154, 158, 167, 168, 190, 200. 207, 212 Meyer, Nicholas, 245 Meyer, Russ, 13 Miles, Christopher, 211 Milius, John, 8 Miller, A.D.G., 77 Miller, Arthur, 124 Miller, Chris, 130 Miller, Robert Ellis, 82 Miller, Seton I., 205 Miller, Winston, 127 Minnelli, Vincente, 10 Mirisch Production Company, 69 Mishima, Yukio, 161 Moffat, Ivan, 14, 189 Monash, Paul, 66, 169 Morra, Irene, 38 Morse, Wilbur, Jr., 162 Nabokov, Vladimir, 111 Naughton, Edmund, 115 NBC, 246, 247 Newton Productions, 54 Nichols, Dudley, 143, 179, 187, 197 Nichols, Mike, 27 Nicholson, Jack, 51 Norris, Frank, 77 North, Edmund H., 44, 141 Nugent, Frank, 125, 151 Olivier, Laurence, 79 Omni Zoetrope, 8 Omnibus Productions, 243 O'Neill, Eugene, 5, 88 Ormonde, Czenzi, 181 Osborn, Paul, 53 Oswald, Gerd, 112 Page, Anthony, 242 Pagnol, Marcel, 199 Pakula, AlanJ., 1 Palmer, Ernest, 38 Paramount, 3, 24, 27, 30, 31, 39, 42, 48, 63, 73, 74, 76, 85, 89, 103, 120, 132, 137, 140, 144, 145, 159, 163, 164, 166, 170, 171, 183, 185, 195, 203, 205, 219, 245 Paret, Starr, 228 Parker, Dorothy, 176 Pascal, Ernest, 215 Pathe, 20 PEA Produzioni Europee, 132 P.E.C.F. Films, 45 Peckinpah, Sam, 21, 96 Peregrine Films, 11 Perlberg, William, 119 Peters, Jon, 177 Phalanx Productions, 100 Phillips, Julia and Michael, 34, 180, 188 Pichel, Irving, 187 Pierson, Frank, 49, 177 Pinter, Harold, 103 Plater, Alan, 211 Poe, James, 234 121 Polanski, Roman, 30, 159 Polaris-Hawk Film, 33 Poll, Martin, 161 Polonsky, Abraham, 19 Potter, H. C., 57 Pratt, Gilbert, 15 Preminger, Ingo, 118 Preminger, Otto, 105, 116, 160, 218 Presnell, Robert, Jr., 106 Prideaux, James, 247 Produzioni Europee Associate, 60 Pryor, Richard, 17 Pursall, David, 112 Puzo, Mario, 73, 74 Rafelson, Bob, 99 Raine, Norman Reilly, 108 Ramis, Harold, 130 Ransohoff, Martin, 27, 219 Raphael, Frederic, 42 Raphaelson, Samson, 3, 24, 83, 93, 122, 137, 167, 170, 186, 191, 203 Rapper, Irving, 72 Rastar, 58 Rattigan, Terence, 20 Ravetch, Irving, 172 Ray, Nicholas, 31, 95, 153 Ray, Tony, 208 Reed, Carol, 55, 138 Reed, Tom, 114 Reicher, Frank, 6 Reiner, Carl, 134 Reinhardt, Elizabeth (Betty), 35 105 Reinhardt, Gottfried, 37, 154 Reisman, Philip, Jr., 247 Reitman, Ivan, 130 Renoir, Jean, 187 Republic, 95, 151, 173 Reville, Alma, 186 Rich, David Lowell, 244 Richards, Vernon, 230 Rickman, Thomas, 97, 219, 230, 238 Ripley, Clements, 25 Rivkin, Allen, 57 Ritt, Martin, 172 RKO, 32, 57, 139, 175, 186, 197, 199 RKO-Teleradio Pictures, 129 Robbins, C. A., 207 Roberts, Ben, 220 Roberts, Bob, 19 Robson, Mark, 28 Jack Rollins-Charles H. Joffe Productions, 7, 145 Root, Wells, 190 Rose, Reginald, 40 Rosebrook, Jeb, 96 Ross, Herbert, 145, 204 Rossen, Robert, 19 Rostand, Maurice, 24 Ruben, J. Walter, 190 Ruddy, Albert S., 73 Rudolph, Alan, 26, 216 Russell, Ken, 210 Ruthven, Madeleine, 5 Ryan, Cornelius, 112 Ryan, Thomas C., 82 Ryskind, Morrie, 175 Salkind, Alexander, 196 Salt, Waldo, 123, 142 Sandburg, Carl, 228 Sanders, Denis, 129 Sanders, Terry, 129 Sandier, Barry, 68, 97 Sandoz, Mari, 29 Sargent Joseph, 245 Saul, Oscar, 182 Sayre, Joel, 197 Schaefer, George, 247 Schaffner, Franklin J., 141 Franklin J. Schaffner Productions, 141 Schary, Dore, 57 Schatzberg, Jerry, 177 Schlesinger, John, 123 Schnee, Charles, 10 Schorr, William, 91 Schrader, Paul, 188 Schulberg, Budd, 54, 231 122 Schuster, Harold, 150 Scorsese, Martin, 188 Screen Plays Corporation, 28 Seastrom, Victor, 81 Seaton, George, 119 Seddon, Jack, 112 Segall, Harry, 233 Sekely, Bela, 207 Sellers, William, 78 Selznick, David O., 110, 133, 152, 212 Selznick, Irene Mayer, 182 Selznick International, 133, 152 Selznick Releasing Corp., 55 Seton, Anya, 50 Seven Arts Productions, 82, 93, 111, 124, 231 Sharp, Margery, 35 Shaw, Bernard, 128 Shaw, Sam, 225 Sherman, Harry A., 25 Sherwood, Robert E., 152 Siegel, Donald, 40 Siegel, Sol C., 71, 87 Silverman, Treva, 246 Simon, S. Sylvan, 67 Simmons, Matty, 130 Siodmak, Curt, 224 Slesinger, Tess, 202 Small, Edward, 197 Smith, Bernard, 29 La Societe Franchise du Production, 59 Solar Films Productions, 96 Solt, Andrew, 110, 218 Sonder, Frederick, Jr., 229 Sparks, Robert, 139 Spengler, Pierre, 41 Spiegel, Sam, 103 Spielberg, Steven, 34 Spigelgass, Leonard, 87 Spyri, Johanna, 243 Stallone, Sylvester, 157 Stark, Ray, 58, 131 Steinbeck, John, 75, 213 Steinberg, Norman. 17 Stern, Stewart, 153 Stevens, George, 144 Stevenson, Robert, 92 Stevenson, Robert Louis, 200 Stewart, Donald Ogden, 142 Stone, John, 162 Stoppard, Tom, 239 Straus, Oscar, 170 Stromberg, Hunt, 200 Sturges, John, 135 Sturges, Preston, 12, 76, 89, 140, 183, 206, 237 Sudermann, Hermann, 61 Swerling, Jo, 109 Talent Associates, Norton Simon, Inc., 26 Tashlin, Frank, 67 Taradash, Daniel, 65 Taylor, Frank E., 124 Terrett, Courtney, 150 Tewkesbury, Joan, 193 Thalberg, Irving, 158 Thew, Harvey, 148 Thompson, Tommy, 90 A Titus Production, 242 Toth, Andre de, 91 Tourneur, Jacques, 139 Towne, Robert, 30 Traven, B., 201 Trianon Productions, 36 Troffey, Alex, 162 Trotti, Lamar, 2, 52, 179, 222 Tryon, Thomas, 59 Tucker, Larry, 18 Tuttle, Frank, 195 Twain, Mark, 41 20th Century-Fox, 2, 12, 13, 23, 25, 35, 38, 44, 50, 52, 70, 71, 75, 78, 83, 84, 86, 87, 92, 104, 105, 109, 112, 114, 116, 118, 119, 127, 141, 143, 146, 155, 160, 161, 172, 178, 179, 184, 187, 189, 191, 196, 198, 202, 204, 206, 208, 213, 214, 215, 217, 218, 221, 222, 223, 227 Twist, John, 197 123 Two Cities Films, 79 Uger, Alan, 17 United Artists, 7, 8, 19, 21, 26, 28, 59, 69, 91, 106, 117, 123, 124, 133, 136, 152, 157, 193, 194, 210, 216, 226 Universal, 56, 60, 62, 66, 68, 102, 130, 165, 169, 171, 180, 224, 244 Universal-International, 79, 80 Ustinov, Peter, 16 Vajda, Ernest, 24, 122, 170 Veiller, Anthony, 131, 175 Victor, David, 244 Vidor, King, 37 Viertel, Peter, 135, 184 Viertel, Salka, 149 Visconti, Luchino, 43, 45 Vonnegut, Kurt, Jr., 169 Von Sternberg, Josef, 163, 166 Von Stroheim, Erich, 77, 121 Waggner, George, 224 Wald, Jerry, 72, 98, 172, 192 Wallis, Hal, 108, 192 Walsh, Maurice, 151 Walsh, Raoul, 129, 192, 220, 221 Wanger, Walter, 149 Ward, David S., 180 Warner, Jack L., 93, 128 Warner, Sam, 93 Warner Bros., 1, 4, 11, 17, 29, 33, 41, 43, 45, 47, 49, 53, 54, 72, 82, 93, 98, 107, 108, 115, 125, 126, 128, 129, 134, 135, 148, 153, 156, 174, 176, 177, 181, 182, 192, 201, 220, 231 Watkins, Maurice, 209 Webb, James R., 29 Weinstein, Henry T., 189 Weintraub, Jerry, 134 Weisbert, David, 153 Welles, Orson, 32, 46 Wellman, William A., 25, 133, 148, 176 Wells, H. G., 194 West, Jessamyn, 64 Wexley, John, 4 Whale, James, 62 Wicki, Bernhard, 112 Wilde, Hagar, 87 Wilder, Billy, 59, 66, 85, 100, 113, 174, 185 Wilder, Gene, 227 Wildwood Enterprises, Inc., 1 Williams, Tennessee, 72, 131, 182 Willingham, Calder, 193 Willis, W. F., 207 Wilson, Anthony, 245 Wilson, Carey, 81 Wilson, Michael, 64, 144 Winkler, Irwin, 157, 210 Wise, Robert, 44 Wizan, Joe, 96 Wolfson, P. J., 197 Wolper, David, 247 David Wolper Productions, 247 Woodward, Bob, 1 Wray, John, 150 Wurtzel, Sol M., 179, 214 Wyler, Robert, 64 Wyler, William, 64, 107, 226 Yates, Herbert J., 95 Yordan, Philip, 31, 95 Young, Waldemar, 207 Zaentz, Saul, 136 Zanuck, Darryl F., 50, 52, 70, 75, 86, 112, 143, 146, 155, 184, 198, 213, 222, 223 Darryl F. Zanuck Productions, 112 Richard D. Zanuck-David Brown Presentations, 180 Zapponi, Bernardino, 60 Zinnemann, Fred, 65 124 ALTERNATE SCRIPT TITLES and SOURCE TITLES A. Lincoln, Esq., 247 The adventures of Luke Starkiller as taken from the "Journey of the Whills," 178 American, 32 An American tragedy, 144 Andrew Johnson: the man on America's conscience, 190 Battle hymn, 228 Before the fact, 186 Big Bertha, 97 Birthday, 83 Black Bart, 17 Blood brother, 23 Build my gallows high, 139 Casanova, 60 Christina, 149 Connecticut yankee in King Arthur's court, 38 Crossing Fox River, 247 Crowned heads, 59 The Czarina, 160 The damned; Gotterdammerung, 43 Dead reckoning, 46 Down went McGinty; the biography of a bum, 76 F. Scott Fitzgerald's Tender is the night, 189 Here comes Mr. Jordan, 233 High fence, 4 The honest finder, 203 I, Jerry, take thee, Joan, 120 Indians, 26 The lady from Laredo, 12 L'aura, 105 Legend of Timbuctoo, 106 Lincoln, husband and father, 247 Lincoln, the unwilling warrior, 247 Lombard and Gable, 68 The long flight, 29 Long haul, 192 Lost illusions, 55 The lost legend, 106 McCabe, 115 McTeague, 77 The magnificent showman, 31 The man I killed, 24 New Kubrick project, 11 Patton (Blood and Guts), 141 The philosopher king, 99 Please stand by: a film for television, 245 The Presbyterian church wager, 115 The prince and the pauper, 41 Pygmalion, 128 The rainbird pattern, 56 Rainbow Road, 177 Ready! Aim! Fire!, 15 Her regiment of lovers, 163 Robber barons, 197 Sad figure, laughing, 247 Sadbird, 241 The screen test: F. Scott Fitzgerald in Hollywood, 242 Six girls, 214 The story of Emile Zola, 108 The three musketeers (Diamonds of the queen), 196 Tribute to a bad man, 10 Truth is on the march, 108 The undying past, 61 Wages of fear, 171 Warpaint, 23 Welcome to L.A.: City of one night stands, 216 Within sight of Canaan, 247 Young Scarface, 20 Zapata, 213 Zola, 108 125 The HF Group Indiana Plant 4200 12/6/2006