Ingmar Bergman (director); Rune Waldekranz (producer); Harriet Andersson, Hasse Ekman (starring)Biblio.com
16 721 résultats
1953130182Stockholm: Svensk Filmindustri 1953. Original Swedish poster for the 1953 film. <br /> <br /> A rich powerful Bergman film that charts the frustrations and humiliations of several performers in a traveling circus troupe. The story takes a domino approach to personal disintegration with the humiliation of one character leading to another character making a retaliatory decision that leaves them just as destitute. A major step forward for Bergman in terms of thematic use of light and shadow to not only provide atmosphere but to evoke the feelings of the characters at hand. <br /> <br /> 27.5 x 39 inches. Lightly restored linen-backed and rolled. Near Fine. Svensk Filmindustri unknown
160044Los Angeles: Twentieth Century-Fox / Richard Roth Productions 1976. Two scripts for the 1977 film including one First Draft script dated January 1976 and one Revised Final Draft script dated September 20 1976. Laid in with the First Draft is a "With Compliments" card from director Fred Zinnemann. <br /> <br /> Based on Lillian Hellman's 1973 novel "Pentimento" about a writer's lifelong friendship with Julia a German woman who becomes heavily involved with resistance efforts during the Nazi regime. Nominated for eleven Academy Awards winning three including Best Supporting Actor for Jason Robards and Best Supporting Actress for Vanessa Redgrave. <br /> <br /> Set in Germany shot on location in England and France. <br /> <br /> First Draft:<br /> <br /> Red titled wrappers. Title page present dated January 1976 noted as FIRST DRAFT with credits for screenwriter Alvin Sargent and writer Lillian Hellman. 146 leaves with last page of text numbered 145. Xerographic duplication rectos only. Pages Near Fine wrapper Near Fine bound with two silver brads.<br /> <br /> Revised Final Draft:<br /> <br /> Blue titled Twentieth Century-Fox wrappers noted as REVISED FINAL on the front wrapper dated September 20 1976. Title page present dated September 20 1976 noted as REVISED FINAL with credits for screenwriter Alvin Sargent and writer Lillian Hellman. 140xx leaves with last page of text numbered 138. Xerographic duplication on blue stock rectos only. Pages Very Good plus wrapper Very Good plus with small dampstains affecting the front wrapper and the first ten leaves bound with two gold brads.<br /> <br /> Scripts housed together in a custom blue clamshell box.<br /> <br /> Twilight Time 210. Twentieth Century-Fox / Richard Roth Productions unknown
1966154165Los Angeles: American International Pictures AIP 1966. Draft script for the 1967 film. Copy belonging to actor Dick Miller with his name on the title page and his manuscript ink and pencil annotations throughout. Miller was initially cast in the role of Leroy although a motorcycle crash during filming left him with several broken ribs leading to his replacement by actor George Sims. <br /> <br /> From the estate of Dick Miller.<br /> <br /> Violence threatens to erupt in a small town when a gang of former Hell's Angels bikers are wrongfully accused of sexually assaulting a teenage girl. One of a handful of films in which actor John Cassavetes agreed to star in order to secure financing for his independent 1968 film "Faces."<br /> <br /> Shot on location throughout Arizona. <br /> <br /> Red titled American International Pictures wrappers. Title page present dated 12-7-66 with credits for screenwriter Charles B. Griffith. 105 leaves with last page of text numbered 104. Mimeograph duplication rectos only with blue revision pages throughout dated 12-7-66. Pages Near Fine wrapper Near Fine bound with two gold brads.<br /> <br /> McPadden Heavy Metal Movies. American International Pictures [AIP] unknown
1929131052Hollywood: Paramount Pictures 1929. Final White Draft script for the 1930 film. Studio file copy rubber-stamped on the front wrapper. Based on Joseph Conrad's 1915 novel "Victory" the second of ten feature adaptations preceded by Maurice Tourneur's 1919 film. <br /> <br /> Heyst Arlen is a hermit on an island who offers shelter to a redhead named Alma Carroll and the two live somewhat harmoniously. That is until Mr. Jones Seyffertitz shows up looking for buried treasure. <br /> <br /> White self wrappers noted as Final White Script on the front wrapper rubber-stamped copy No. 370 FILE COPY and MASTER FILE dated September 11 1929 with credits for writer Conrad director Wellman and screenwriters McNutt and Jones. 91 leaves mimeograph duplication. Near Fine overall side-stapled. Paramount Pictures unknown
148727Tokyo: Toei 1974. Draft script for the 1974 Japanese film. Text and titles in Japanese. <br /> <br /> Based on a series of magazine articles written by journalist Koichi Iiboshi which were in turn based on memoirs written by yakuza crime boss Kozo Mino. The fifth and final film in director Kinji Fukasaku's yakuza pentalogy following feuding gangs in post-war Hiroshima. <br /> <br /> Recently the subject of a complete restoration helmed and issued by Arrow Films in England.<br /> <br /> Tan titled perfect-bound wrappers. 67 leaves with last page of text numbered D27. Mimeograph duplication printed on rectos and versos. Pages Very Good plus wrapper Very Good with light dampstains to the extremities.<br /> <br /> Arrow 2164. Toei unknown
1956143240Tokyo: Nikkatsu 1956. First Draft script for the 1956 film. Title in English on rear wrapper. <br /> <br /> Based on a 1946 children's novel by Michio Takeyama about a conscience-driven Japanese soldier who adopts the lifestyle of a Buddhist monk after he fails to get his countrymen to surrender to an overwhelming force. Nominated for a Best Foreign Language Film Academy Award. <br /> <br /> Set in Burma during WWll shot on location in Burma and near the Izu Peninsula in Japan. <br /> <br /> White titled wrappers. Title page present. 70 leaves with last page of text numbered e-25. Mechanical duplication. Pages Near Fine with some toning due to age wrapper Very Good with mild foxing and light water damage near spine. <br /> <br /> Criterion Collection 379. Eureka Masters of Cinema 12. Nikkatsu unknown
1959151852N.p.: N.p. 1959. Vintage reference photograph from the 1959 film showing actor Laurence Olivier posing in costume. INSCRIBED by Olivier to noted production manager John Palmer to the bottom left corner: "For John. / In grateful remembrance / 1958- / affectionately / LO." <br /> <br /> From the collection of noted British film producer John Palmer.<br /> <br /> Palmer worked with Olivier on several films throughout the late twentieth century including "Lawrence of Arabia" 1962 "Battle of Britain" 1969 "A Bridge Too Far" 1977 and "Clash of the Titans" 1981.<br /> <br /> Photograph approximately 10.75 x 13.25 inches. Unexamined out of original frame mounted as issued frame approximately 16.5 x 19.5 inches. N.p. unknown
1944129114Universal City CA: Universal Pictures 1944. Revised Draft script for the 1945 film. Carbon typescript with brief annotations throughout in manuscript pencil. Noted as "Cockle Script" on the front wrapper. <br /> <br /> Leslie Charteris wrote the original screen story but not the screenplay for this film and subsequently published the story as a novel in conjunction with the film's release. <br /> <br /> A light mystery with a terrific Woolrich-esque plot wherein a young girl Deanna Durbin sees a man being murdered from her train car window. Known for her addiction to mystery novels she is not taken seriously by the police and begins her own investigation. <br /> <br /> Gray titled wrappers undated with credits for screenwriters Beloin and O'Brien. 200 leaves with last page of text numbered 131. Carbon typescript on onionskin stock with revision pages throughout dated variously between 10/17/44 and 2/22/45. Pages Near Fine wrapper Very Good now encapsulated in mylar bound with three gold brads. <br /> <br /> Grant p. 363. Spicer p. 413. Universal Pictures unknown
1939135595Paris: Productions Sigma 1939. Vintage double weight photograph from the 1939 film. Shot and struck by the film's still photographer Raymond Voinquel with his name in tiny print at the bottom left corner of the image and the film title at the bottom right. <br /> <br /> A striking image shot from the top of a tall tenement stairwell looking straight down as all the tenants looking up. A significant image as well as it is pulled from a location that is at the heart of the story where Jean Gabin-pursued by the police-has barricaded himself in a room at the top of the building after shooting and killing a fellow foundry working in an argument. <br /> <br /> 8.5 x 11. 25 inches. In a museum quality frame. Four small discolorations at the corners of the verso from an old non-archival mounting else about Fine. Productions Sigma unknown
1950131050Los Angeles: Twentieth Century-Fox 1950. Revised First Draft Continuity script for the 1951 film. Included is an index to the script breakdown detailing various scenes and script page numbers with revisions. Copy belonging to Dane Anderson an uncredited member of the crew with his name on the front wrapper of the script breakdown and annotations throughout in manuscript pencil. File copy rubber-stamped on the front wrapper. <br /> <br /> Based on Weidman's 1937 novel and Vera Caspary's loose adaptation. Harriet Boyd Hayward is a fashion designer who partners with Teddy Dailey whom she loves and Sam Jaffe and starts a new business dedicated to selling affordable women's dresses. A rival fashion company lead by Noble Sanders momentarily distracts Harriet but at the last minute she realizes her true devotion to Teddy and Sam. <br /> <br /> Screenwriter Polonsky was blacklisted shortly after the film's release refusing to answer questions before the House Un-American Activities Committee. <br /> <br /> White titled wrappers rubber-stamped as REVISED FIRST DRAFT CONTINUITY on the front wrapper copy No. 3 and production No. 2446.8 dated August 4 1950. Distribution page present with receipt removed. Title page present dated August 4 1950 noted as Revised 1st Draft Continuity with a credit for screenwriter Polonsky. 170 leaves with last page of text numbered 168. Mimeograph on eye-rest green stock. Pages and wrapper Near Fine internally bound with three gold brads. <br /> <br /> Script Breakdown: self wrappers as issued. 88 leaves dated 10/2/50 mimeograph on eye-rest green stock. Near Fine bound with three gold brads. Twentieth Century-Fox unknown
1960125095London: Michael Powell Theatre 1960. Vintage British Advance Poster for the classic 1960 film. The British Double Crown poster for the film turns up from time to time but this Advance issue which does not state the film's title is a rarity. <br /> <br /> Noted director Powell's most controversial film about a serial killer who films his female victims as they are dying. Reviled by critics on its release and today considered a masterpiece it is the second of three feature films director made after parting ways with his longtime filmmaking partner Emeric Pressburger. Ostensibly a film about a killer with serious Freudian issues but later reassessed as much more conceptual and complex. Roger Ebert pointed out famously in his 1999 review of the film that the audience is implicated as much as the killer."Movies make us into voyeurs. We sit in the dark watching other people's lives. It is the bargain the cinema strikes with us although most films are too well-behaved to mention it."<br /> <br /> Martin Scorsese is probably the most famous fan of the film and takes Ebert's argument further saying "I have always felt that "Peeping Tom" and "8 " say everything that can be said about filmmaking about the process of dealing with film the objectivity and subjectivity of it and the confusion between the two. "8 " captures the glamour and enjoyment of film-making while "Peeping Tom" shows the aggression of it how the camera violates. From studying them you can discover everything about people who make films or at least people who express themselves through films."<br /> <br /> 30 x 20 inches. About Near Fine on archival linen with some expert restoration at the top edge and folds. Archivally framed with an acid-free mat and UV plexi. <br /> <br /> Criterion Collection 58. Grant p. 495. Spicer p. 446. Michael Powell [Theatre] unknown
1960133246Italy: Nepi Film 1960. Vintage oversize double weight borderless photograph from the 1961 film. A candid on-the-set photograph of director Michelangelo Antonioni cinematographer Gianni Di Venanzo Jeanne Moreau and others working on a balcony shot part of the long party sequence that makes up the last third of the film. <br /> <br /> The second film in the trilogy that begins with "L'Avventura" 1960 and ends with "L'Eclisse" 1962. Shot on location in Milan. <br /> <br /> Probably no one has ever said it better than Bosley Crowther who reviewed the film for the New York Times in 1961: "Too sensitive and subtle for apt description are Antonioni's pictorial fashionings of a social atmosphere a rarefied intellectual climate a psychologically stultifying milieu-and his haunting evocations within them of individual symbolisms and displays of mental and emotional aberrations. Even boredom is made interesting. There is for instance a sequence in which a sudden downpour turns a listless garden party into a riot of foolish revelry exposing the lack of stimulation before nature takes a flagellating hand. Or there's a shot of the crumpled wife leaning against a glass wall looking out into the rain that tells in a flash of all her ennui desolation and despair."<br /> <br /> In a custom museum-quality frame archivally mounted with UV glass. 9 x 12 inches. Near Fine. <br /> <br /> Criterion Collection 678. Eureka Masters of Cinema 61. Nepi Film unknown
1971127416Beverly Hills CA: Three Michaels Film Productions / United Artists 1971. Revised Draft script for the 1972 film. Cameraman Dusty Miller's working copy with his annotations throughout. Variously INSCRIBED in round-robin fashion on the title page by director Mike Hodges "Thank you for coming to my funeral" cast members Lizabeth Scott Amerigo Tot Patrick Browning Downing Mickey Rooney and others. Included is a call sheet and a set of 5 color Polaroid photographs showing the setups for a funeral sequence in the film. <br/><br/>A film every bit the equal of its counterpart "Get Carter" made by Hodges and Caine the year before but different in almost every way. Caine effortlessly switches gears from the vigilante killer in "Carter" to a pulp novelist who travels abroad and wanders into a complex murder scenario unwittingly becoming a part of the puzzle. Grim funny and not for the dim. <br/><br/>Red titled wrappers. Title page present with credits for screenwriter/director Hodges and producer Michael Klinger dated November 17 1971. 113 leaves mimeograph duplication. Pages Very Good plus with silverfish damage to a few leaves wrapper Very Good plus with faint dampstaining to the rear wrapper and a few light creases bound with two silver brads. Three Michaels Film Productions / United Artists unknown books
1929137372Budapest: Hunnia Filmstudio 1929. Specially bound copy of an Early Draft script for the Hungarian film released in Hungry in 1932 as "Tavaszi zapor" in Frace in 1933 as "Marie Legende Hongroise" and in the United States in 1935 as "Spring Shower." Housed in a likely hand-sewn floral cloth-covered portfolio the script is INSCRIBED by the Hungarian-American feminist and radical socialist screenwriter Ilona Fulop on the title page: "To Mac: / Because You still trust me! / Ilona / Christmas 1929 / Hollywood Cal." A unique and attractive item and probably the only surviving copy of the script. <br /> <br /> The story of a poor girl driven out of her village when she becomes pregnant by her employer's wealthy fiance finding refuge working as a maid in a brothel. After her daughter is taken from her however she falls into alcoholism and dies. A maid in Heaven as she was on earth she saves her daughter from befalling a similar fate by "emptying her mop bucket" on her daughter's head via a rain shower at a pivotal moment. <br /> <br /> A multinational production in which a Hungarian screenwriter and Hungarian director both with experience in Hollywood shot a film starring a French actress using frozen assets from a French producer that had been mandated for exclusively Hungarian use. Though not a box office success at the time it is now regarded as one of the all-time great films originating from the country. In a 1919 article entitled "What is 'Revolution' Doing to Love" screenwriter Fulop describes herself as a socialist radical as opposed to a revolutionary or a Bolshevik and her desire to further equal rights for women strongly defines her as a modern-day feminist as well. "Spring Showers" with its women- and proletarian-friendly plot thus comes as little surprise. <br /> <br /> Housed in floral cloth-covered portfolio titled wrappers. Title page present with credits for screenwriter Fulop. 78 leaves with last page of text numbered 77. Carbon typescript. Pages Very Good portfolio Very Good bound with a single line of hand-stitching. Hunnia Filmstudio unknown
1963146394Hollywood: Paramount Pictures 1963. Revised Draft script for the 1964 film. With a few manuscript pencil annotations throughout mostly relating to line revisions and props. <br /> <br /> Based on the 1959 French play by Jean Anouilh. King Henry II's malcontent relationship with the Church leads to the appointment of his close friend Thomas Becket as the Archbishop of Canterbury. Henry does not anticipate however how seriously Becket will take the vocation leading to the dissolution of their friendship in the face of Becket's rising political power. Nominated for eleven Academy Awards winning one for Best Adapted Screenplay. <br /> <br /> Set in England and France.<br /> <br /> Beige titled wrappers. Title page present dated 12th February 1963 noted as REVISED. 157 leaves with last page of text numbered 155. Mimeograph duplication on yellow stock rectos only. Pages Near Fine wrapper Very Good plus with some rusting near the binding bound internally with three silver brads. Paramount Pictures unknown
1961144660Paris: Cinedis 1961. Archive of 749 vintage keybook photographs from the 1961 French-Italian film. Over 200 are loose the remainder being affixed with cello tape on thick stock in two folio sized spiral bound notebooks with one title label present. Each photograph is numbered in manuscript pencil on the versos 13 photographs credit photographer Water Limot 18 with his name stamped on the verso and each notebook page with corresponding numerical annotations in manuscript pencil. Also included is a vintage Cinedis manila mailing envelope.<br /> <br /> Limot's action photographs are poignantly interlaced with on-the-set images including tender exchanged between actors Bourvil Annie Fratellini and Colette Castel herself seen in striking authority behind a handheld camera. A few feature Black musicians <br /> <br /> in the background surrounded by paparazzi and a few photos are slightly more candid with subjects hamming for the camera. <br /> <br /> A businessman wants to buy land around the village of Cabosse claiming his desire for seclusion but with intentions to sell the water from the village fountain purportedly a fountain of youth. <br /> <br /> 747 photos are 3.5 x 4.5 inches or slightly smaller with small white borders at the foot and 2 photos are 5 x 7 inches. Light curling and most with tape ghosts and discoloration else Near Fine. Envelope and notebooks Very Good overall. Cinedis unknown
1965132451Los Angeles: Twentieth Century-Fox 1965. First Draft script for the 1965 film. Included are production notes dated November 1965 laid in and an architectural sketch of the "sky truck" noted as "REVISED / APR. 22. '65" As deluxe a script for this film as we have seen and a highspot for noted director Robert Aldrich. <br /> <br /> One of the great adventure films of the twentieth century wherein a cargo plane with fewer than a dozen men goes down in the Sahara in a sandstorm. One of the men is an airplane designer who comes up with the idea of ripping off the undamaged wing and using it as the basis for an airplane they will build to escape before food and water are depleted. <br /> <br /> Black titled wrappers noted as 2ND DRAFT on the front wrapper dated April 6th. Distribution page present with receipt removed. Title page present with credits for screenwriter Heller and novelist Trevor. 178 leaves mechanical duplication with blue and pink revision pages throughout dated variously between 4/15/65 and 4/27/65. Pages Near Fine wrapper about Near Fine with a small fingernail-size bruise at the top left corner of the front wrapper. Bound internally with three gold brads. Twentieth Century-Fox unknown
1940155765Culver City CA: RKO Radio Pictures 1940. Final script for the 1941 screwball comedy film with "286" in manuscript pencil to the top right of the front wrapper. Laid in is a ribbon copy typescript listing the five lead actors on RKO letterhead.<br /> <br /> A cantankerous tycoon goes undercover as a shoe clerk at his own New York department store in order to identify labor agitators but finds himself befriending the workers and becoming sympathetic to their needs. A key film in the American screwball comedy cycle with proletarian elements deftly woven into a hilarious and whip-smart story. Nominated for two Academy Awards for Best Screenplay and Best Supporting Actor for Charles Coburn.<br /> <br /> Pink titled wrappers rubber-stamped FINAL SCRIPT on the front wrapper rubber-stamped copy No. 60 dated November 26 1940 with credits for screenwriter Norman Krasna. Distribution page integral with title page with receipt removed dated 11/26/40 noted as FINAL. 163 leaves with last page of text numbered 158. Mimeograph duplication rectos only. Pages Very Good plus with a small amount of silverfish damage on the second and third leaves with foxing to the top edge and faint foxing to the fore-edge wrapper Very Good plus with light foxing and soiling bound with three gold brads.<br /> <br /> Byrge and Miller The Screwball Comedy Films: A History and Filmography. Olive 53203. RKO Radio Pictures unknown
141442Burbank CA: Cinema Epoch 1977. Draft script for the 1977 film. Text in Japanese. <br /> <br /> A female golfer tries to perform to the very best of her abilities but must contend with the men in her life her neighbors her family and a stalker who will not leave her alone. <br /> <br /> Pink titled perfect-bound wrappers. Title page present. 118 leaves with last page of text numbered 110. Mechanical duplication. Pages Very Good plus wrapper Very Good plus. Cinema Epoch unknown
1961141438Tokyo: Nikkatsu 1961. Treatment script for the 1961 film. Text in Japanese. <br /> <br /> A 1920s playwright meets a beautiful woman who might be the ghost of his patron's deceased wife. <br /> <br /> White titled perfect-bound wrappers. Title page present. 39 leaves with last page of text numbered 38. Mechanical duplication. Pages Very Good plus wrapper Very Good plus. Nikkatsu unknown
1963141423Tokyo: Nikkatsu 1963. Draft script for the 1963 film. Text in Japanese. <br /> <br /> A metaphor for the experience of Japanese citizens in the postwar era told through the perspective of a woman named Tome born into a lower class family. She finds herself in a cycle of self-defeat repeating the same mistakes that have always plagued her. <br /> <br /> Yellow titled perfect-bound wrappers. Title page present. 156 leaves with last page of text numbered 29. Mechanical duplication. Pages Near Fine wrapper Near Fine. <br /> <br /> Criterion Collection 473. Eureka 22. Nikkatsu unknown
1961143580Beverly Hills CA: United Artists / Caralan Productions 1961. Draft script for the 1961 British horror film here under the working title "The Lady is a Snake" with the release title in holograph pencil on the front wrapper. Though made in the UK the film was a US co-production and this is a US draft of the script noting the US production company Playstar Productions on the front wrapper. <br/><br/>A doctor injects his pregnant wife with snake venom causing her to give birth to a snake woman who grows up to terrorize the local town. <br/><br/>Set in Victorian England. <br/><br/>Tan titled wrappers with credits for screenwriter Orville H. Hampton. Distribution page present with receipt intact. 114 leaves with last page of text numbered 111. Mimeograph Pages Fine. Front wrapper detached. Now encapsulated in mylar else Very Good plus bound with three gold brads. United Artists / Caralan Productions unknown books
1952136688N.p.: N.p. 1952. Vintage oversize double weight matte finish photograph from the set of the 1952 film. <br/><br/>A sobering and striking image of the film's destitute loner and his dog Flike standing in the streets of Rome late in the evening. Shot by the film's still photographer Angelo Pennoni using a striking example of designer Virgilio Marchi's meticulously designed and lit set. <br/><br/>Generally considered the masterpiece of the post-WWII Italian neorealist movement. Winner of the New York Film Critics Circle Award for Best Foreign Film and director De Sica was nominated for the Grand Prix at the 1952 Cannes Film Festival. <br/><br/>16 x 11.75 inches. Very Good with some scuffing at the extremities. <br/><br/>Criterion Collection 201. N.p. unknown books
1933131380Hollywood: Paramount Pictures 1933. Second Script for the 1933 film. Rubber-stamped on the front wrapper "FILE COPY / RETURN TO SCRIPT DEPT. / PARAMOUNT STUDIO - HOLLYWOOD" and "1837 / MASTER FILE." The film's original title "Don't Call Me Madam" is present on the front wrapper crossed through with the new title "Tillie and Gus" written in manuscript ink above it. <br /> <br /> Based on a short story entitled "Don't Call Me Madame" by Rupert Hughes about Tillie and Gus Winterbottom Alisone Skipworth and W. C. Fields and their tribulations involving a deceased family member's inheritance. Even with the ensuing events including a riverboat race and a baby-toting bathtub that floats downstream reminiscent of Moses in a basket the film is remembered as one of Fields' "sleepers" one less punchy than others. "Tillie and Gus" was one of three pairings of Skipworth and Fields the others being "Six of a Kind" 1934 and "If I Had a Million" 1932. <br /> <br /> Tall side stapled salmon self wrappers noted as SECOND SCRIPT on the front wrapper rubber-stamped copy production No. 1837 dated March 10 1933 with credits for screenwriters Jones McNutt and Harris. Title page integral with the first page of the script. 137 leaves mimeograph on salmon colored stock. Pages about Near Fine rear wrapper detached but present else wrappers Very Good plus. Paramount Pictures unknown
1962151288Beverly Hills CA: Chrislaw Productions 1962. Archive of two Draft scripts one unbound a partial "last half of script" an 83-page "Scene Breakdown" four collections of revision pages two of which have annotations and a contact sheet of eleven images from the 1963 film. <br/><br/>The bound script is undated and without revisions likely a first draft. The unbound script largely yellow and blue revision pages dated 7/16 through 8/3 1962 is predominantly a carbon typescript with several ribbon typescript pages both on onionskin and 27 mimeograph duplication pages with a single dialogue annotation on page 26-A and page and scene number annotations on all mimeograph pages in holograph ink. The partial script dated 8/7 through 8/14 is a carbon typescript on on pink onionskin with a typed note "Last Half of Script sent to uncredited producer or crewmember Joe Wiseman" attached to the first page by a clip.<br/><br/>The "Scene Breakdown" is an undated 83 page carbon typescript on onionskin with a single dialogue annotation in holograph pencil likely screenwriter Joseph Landon's initial but extensive treatment. <br/><br/>The collections of revision pages include an eight page carbon typescript "Giordano Mountain Meeting" scene dated 7-18-62 on yellow onionskin. Three copies of a four page carbon typescript on pink onionskin "Notes on Five Victims" dated 8/7 with a handwritten note on purple paper attached by paper clip of "8/7 - Notes on Five Victims Third Rewrite." 46 pages of revisions ranging from page 3 through page 47-A dated 8/17 all on pink paper except for one mimeographed white page 28 of which are on pink onionskin with 36 pages carbon typescript nine ribbon typescript with annotations regarding dialogue motivation plot and strikes in holograph pencil and ink on 17 of the pages. The last collection of revision pages are 29 pink pages all but one are mimeograph duplication dated 10/10/62 five of which are page 124-A including the first page which is carbon typescript on onionskin noted as "Added Scene" by director "Bill Asher" with annotations in holograph pencil and ink the remainder are eight copies of pages 124 125 and 125A. <br/><br/>Lastly is a contact sheet of eleven images with top left image removed five of director William Asher on set three with Henry Silva with the remaining six of a bearded and heavily made-up Silva on the set.<br/><br/>Based on the 1959 Gold Medal paperback crime novel "The Kingdom of Johnny Cool" by John McPartland about an exiled American mobster who sends an Italian outlaw to the US to assassinate his enemies. <br/><br/>Set in Italy New York City and Hollywood shot on location in Southern California. <br/><br/>Bound Script:<br/><br/>Blue titled wrappers. Title page present with credits for screenwriter Joseph Landon. 140 leaves with last page of text numbered 139. Mimeograph duplication rectos only. Pages Near Fine wrapper Near Fine bound with three gold brads.<br/><br/>8/3/62 Script:<br/><br/>Self-wrappers untitled with latest revisions dated 8/3/62 178 leaves with last page of text numbered 162. Largely carbon typescript duplication with several ribbon typescript pages and several mimeograph duplication pages rectos only with blue and yellow revision pages throughout dated variously between 7-16-62 and 8/3/62. Pages Near Fine overall with first page Very Good with chipping creasing and closed tears to right edge unbound<br/><br/>8/14/62 Partial Script:<br/><br/>Self-wrappers untitled with latest revisions dated 8/14/62. 139 leaves with last page of text numbered 187. Carbon typescript duplication rectos only with pink revision pages throughout dated variously between 8/7 and 8/14. Pages Near Fine overall with first page Very Good plus with chipping creasing and closed tears to right edge bound with metal clip to top left corner.<br/><br/>Revision Pages Very Good plus to Near Fine with some light edgewear.<br/><br/>Contact Sheet 8 x 10 inches. Near Fine.<br/><br/>Selby Master List US. Silver and Ward US. Spicer US. Chrislaw Productions unknown books
