8 854 résultats
1938135920Hollywood: Paramount Pictures 1938. Revised White script for the 1939 film seen here with the title "I Robbed a Bank" which has been stricken through on the title page. <br/><br/>A gang attempts a bank robbery only to find that one of the gang member's sisters works there. The gang abducts her and a truck driver while attempting their getaway and the hostages must secretly try to help the cops find the fugitives. <br/><br/>Written by well loved humorist S.J. Perelman and his wife Laura Perelman "Ambush" marks a significant but entertaining departure from their best-known works such as their co-writing work on Marx Brothers films "Monkey Business" and "Horse Feathers." <br/><br/>White side-stapled titled wrappers dated December 13 1938 noted as production No. 1198 and copy No. 0038. Title page integral with the front wrapper as issued. 115 eaves with last page numbered D-28. Mimeograph duplication with blue revision pages throughout dated between 10-10-38 and 10-21-38. Very Good plus lacking rear wrapper. Paramount Pictures unknown books
1977139845London: Cinema 5 1977. Revised Final or "Revisedish Sort of Finalish" as it's styled on the title page British script for the 1977 comedy directed by Terry Gilliam based on the poem by Lewis Carroll from "Through the Looking Glass" 1871. <br /> <br /> Terry Gilliam's first solo directorial effort after co-directing "Monty Python and the Holy Grail" with Terry Jones. A comedy in the Python style-and with much of the Python cast-owing much to "The Holy Grail" but with evidence of Gilliam's unique touch which would come into full bloom with "Time Bandits" 1981 and ultimately "Brazil" 1985. <br /> <br /> Red blank wrappers with die cut title window in the British style. Title page present noted as Revised Final with credits for screenwriters Charles Averson and Terry Gilliam. 148 leaves with last page of text numbered 145. Mechanical duplication with pink and white pages throughout undated. Pages Near Fine wrapper lightly faded and Very Good plus bound internally with two silver brads. Cinema 5 unknown
1977123502London: Cinema 5 1977. Early Draft British script for the 1977 comedy directed by Terry Gilliam based on the poem by Lewis Carroll from "Through the Looking Glass" 1871. <br/><br/>Terry Gilliam's first solo directorial effort after co-directing "Monty Python and the Holy Grail" with Terry Jones. A comedy in the Python style-and with much of the Python cast-owing much to "The Holy Grail" but with evidence of Gilliam's unique touch which would come into full bloom with "Time Bandits" 1981 and ultimately "Brazil" 1985. <br/><br/>Red titled wrappers with die-cut front wrapper in the British style. Title page present with credits for writers Alverson and Gilliam holograph ink parenthetical markings to the left and right of their names. Noted as "A Revisedish Sort of Finalish Draft February 10 1976" at the bottom right. 147 leaves roneograph. Pages Near Fine wrappers Good to Very Good with creasing at the corners and some staining. Holograph annotations and pencil sketches in an unknown hand on the verso of 8 leaves apparently unrelated to the script or the production. Small ink scrawl on the rear panel. Internally bound with two silver brads. Cinema 5 unknown books
1969139645Burbank CA: Walt Disney Productions 1969. Revised First Draft script for the classic 1971 Disney film "The Million Dollar Duck" here under the working title "Mr. Webfoot Waddle." <br/><br/>Based on a story by Ted Key notable writer who created the famous time-traveling duo Mr. Peabody and Sherman both regular characters on the cult classic television series "The Bullwinkle Show" 1960-1964. Professor Albert Dooley Jones brings home an American Pekin duck from his lab as a gift for his son unaware that the duck lays golden eggs. <br/><br/>Blue titled wrappers noted as Revised First Draft Screenplay on the front wrapper production No. 7286 dated November 19 1969 with credits for story writer Key and screenwriter Rogers. Title page present dated November 19 1969 noted as Revised First Draft with credits for screenwriter Rogers. 127 leaves with last page of text numbered 127. Mechanical duplication on yellow stock. Pages and wrapper Newar Fine bound with three gold brads. Walt Disney Productions unknown books
1951122115Rome: Albert and Charles Boni 1951. Original Italian program for the 1951 film based on the novel "Toto il buono" by Cesare Zavattini. SIGNED by Vittorio De Sica at the bottom of the title page. One of the director's classics pure visual storytelling made just after "Bicycle Thieves" 1948 and just before "Umberto D." 1952. A gorgeous oversize program with a central illustration on the front wrapper within a debossed frame. The wrapper houses 6 loose deluxe card plates as issued the first two devoted to text and the last four being full-color lithograph illustrations reflecting the film story. One of the most beautiful programs we've ever seen. Plates Near Fine outer wrapper Very Good plus with a few tears at the edges but no loss 12.75 x 17.25 inches. Albert and Charles Boni unknown books
1949WRCLIT67555Culver City: Selznick International Picture / Vanguard Films 1949. Nine volumes. Quarto. Eight items mimeographed typescript printed on rectos only one item pictorial wrappers. Modest use to a few wrappers a bit of rust to a few brads but generally very good to near fine. An interesting lot of material relating to Selznick's 1944 multi-award nominated film adaptation of and elaboration on Wilder's epistolary novel about the Home Front SINCE YOU WENT AWAY: LETTERS TO A SOLDIER FROM HIS WIFE. The film was directed by John Cromwell and Selznick and starred Claudette Colbert Jennifer Jones Joseph Cotten Shirley Temple Monty Woolley Lionel Barrymore and an enormous supporting cast. As originally released in 1944 the film had a running time of 172 minutes; it was recut and re-released in 1949 with a running time of 130 minutes. This archive traces both the original version and the abbreviated version and includes the following items: a SINCE YOU WENT AWAY PART II. 9 April 1943 82 leaves a portion of an abstract or synopsis of the book evidently for use by the writer; b a "Narrative Synopsis of Screenplay" 7 September 1943 158 leaves; c a doorstop of a "Final Shooting Script" 9 September 1943 - January 1944 credited to Jeffrey Daniel - a nome de plume for Selznick which he finally rejected in favor of "By the Producer" - an astonishing 2290 leaves plus lettered inserts and exhibiting a rainbow of mimeo carbon and original typescript dated revises on colored stocks at a virtual 1:1 ratio to unrevised leaves; d 28 leaves of "Retakes / Added Scenes / Wild Lines" 12 April 1944; e & f "Cutting Continuity" and "Dialogue Continuity" for "Foreign Version both 20 September 1946 foliated in reel format; g a "Dialogue & Cutting Continuity" March 1949 clearly the recut version; h a "Spotting List for Recut Version" 22 August 1949 262 leaves; and finally i a copy of the illustrated souvenir program for the original release. At the time the film was the longest and most expensive Selznick production since GWTW a project that he took on as a personal contribution to the war effort. Selznick International Picture / Vanguard Films unknown books
1966149378N.p.: Delpire 1966. Collection of three vintage borderless reference photographs from the 1966 film. Both with the stamp of Tele-Magazine on the verso. <br/><br/>An anarchic satire of the fashion industry directed by a true insider Vogue magazine's longtime fashion photographer William Klein. Dorothy McGowan in her first and only film appearance stars as young model Polly Maggoo who becomes the subject of a television documentary news episode over the course of Paris Fashion Week.<br/><br/>Set and shot on location in Paris.<br/><br/>One photograph 10 x 8 inches two photographs 10 x 7.5 inches. Near Fine. Delpire unknown books
1969149517Beverly Hills CA: United Artists 1969. Collection of five vintage borderless reference photographs taken on the set of the 1969 film. Included are: 1 a shot of Arlo Guthrie on a motorcycle next to Michael McLanahan 2 a shot of director Arthur Penn producer Hillard Elkins and another crew member on motorcycles 3 a shot of McLanahan Penn and actress Patricia Quinn working on a scene 4 Guthrie with Quinn and 5 Guthrie with a donkey and members of the cast.<br/><br/>Based on Arlo Guthrie's 1967 folk protest song a narrative loosely based on Guthrie's own experiences being jailed for littering and later using the record of his arrest to escape the Vietnam draft. <br/><br/>Set and shot on location in New York and Massachusetts.<br/><br/>10 x 8 inches. Near Fine.<br/><br/>Complete collation details available on request. United Artists unknown books
1959144627Paris: Intermondia Films / Pretoria / Cinedis 1959. Collection of 134 original black-and-white single weight still photographs from the 1959 French-Italian film. Featuring Jean Gabin dancing gaily in pub with costar Doll two photos of Gabin kicking a ball and in a manila envelope addressed to "M. de La Maziere and images of costar Cowl smoking a cigarette. Several photos are credited to photographer Dole on the recto with mimeograph numbers on the verso and nearly all with brief numerical annotations in holograph pencil on the verso. Housed in a vintage Ilford photo paper box with French title in holograph ink on the lid. <br/><br/>Gabin plays a sophisticated tramp who lives during summer in an abandoned construction site. As winter draws near he devises a plan that will surely have him incarcerated and thus in warmer climates. To do so he chooses a bar to demolish but the crime only lands him a week in jail. Freedom proves too chilling and he vows to return. <br/><br/>Grangier worked with Gabin on several films notably "The Night Affair" 1958 "The Counterfeiters of Paris" 1961 "Speaking of Murder" 1957 and "Maigret Sees Red" 1963 as did photographer Dole who was consistent if anything a regular fixture in films by Denys de La Patelliere Jean Delannoy. Christian de La Maziere was a journalist and member of the Charlemagne Division of the Waffen SS and was featured in Marcel Ophuls' 1969 documentary "The Sorrow and the Pity" discussing his role in WWII. He also worked for the fascist newspaper "Le Pays Libre" earlier and in 1974 he wrote "The Captive Dreamer." His involvement at Vichy and the Waffen SS was pardoned before his career in press and film relations and he garnered brief postwar celebrity.<br/><br/>Photos range from 3.5 x 5 inches to 12 x 15.5 inches. Light curling and a few with slight discoloration and tiny bruises. Box Good overall.<br/><br/>Full collation details available on request. Intermondia Films / Pretoria / Cinedis unknown books
1975138832Paris: Anne-age-Bela 1975. Collection of ten vintage borderless photographs five black-and-white and five in color from the 1975 film. <br/><br/>Generally considered the peak of the collaborative work on video done by Godard and Mieville presenting scenes from the everyday interactions of a working class family with a special focus on children. The film was shot on video then played back on monitors and filmed in 35mm. In the final edit many of the 35mm shots are shown in split screen. <br/><br/>8 x 10 inches. Fine. Anne-age-Bela unknown books
1971133100Paris: Greenwich Film Productions 1971. Original double weight wide margin photograph of Luis Bunuel and screenwriter Jean-Claude Carriere by Mary Ellen Mark taken outdoors during the shooting of Bunuel's "The Discreet Charm of the Bourgeoisie." Notated on the verso as having been taken in 1971 with a separate rubber stamp showing a date of 1980 presumably when the photograph was struck. <br/><br/>Carriere was Bunuel's most significant screenwriting collaborator authoring or co-authoring many of Bunuel's greatest films including "Diary of a Chambermaid" 1964 "Belle de Jour" 1967 "The Milky Way" 1969 "The Discreet Charm of the Bourgeoisie" 1972 "The Phantom of Liberty" 1974 and "That Obscure Object of Desire" 1977. <br/><br/>Print 8 x 10 inches image 5 x 7 inches wide margin. Fine. In a custom museum-quality frame archivally mounted with UV glass. <br/><br/>Criterion Collection 102. Schrader 33. Greenwich Film Productions unknown books
1967148841Universal City: Universal Pictures 1967. Collection of ten vintage photographs including eight borderless reference photographs one borderless promotional photograph of Paul Jones and Jean Shrimpton and one promotional studio still photographof the same from the 1967 film. Nine of these with a mimeo snipe on verso one with additional "David Lasceller" stamp on verso. <br/><br/>Peter Watkin's outrageous and paranoiac dystopian satire of the world's most famous and beloved pop star who is controlled by a totalitarian British government.<br/><br/>Patti Smith covered one of the film's songs "Set Me Free" as "Privilege Set Me Free" on her 1978 album "Easter."<br/><br/>Set in a near-future England shot on location in London and Birmingham England. <br/><br/>8 x 10 inches. Light edge and corner wear else Near Fine. <br/><br/>BFI Flipside 7.<br/><br/>Complete collation details available on request. Universal Pictures unknown books
1948WRCLIT67460Culver City: Vanguard Films Inc. / The Selznick Studio 1948. Two volumes. Quarto. Mimeographed typescript printed on rectos only. Bradbound in wrappers stencil- printed and printed. First item lacks blank lower wrapper otherwise very good to near fine. Two development scripts undertaken for a film version of Hardy's novel which never came to fruition made up of the following: a A "Complete Script" of Scott's full screenplay 1244 leaves 12 July 1946 re-run 12 January 1947; and b an unspecified but revised of Scott's screenplay undated 1253 leaves in canary yellow printed Selznick Studio wrappers. Work on the film progressed to a point where an entirely different reworking of the script by Clemence Dane was undertaken but the project was canceled. Had it come to fruition this would have been the third film version of TESS after the now lost silent versions of 1913 and 1924. As it turned out a third version would need to wait until award- winning 1979/80 Polanski version TESS. Vanguard Films, Inc. / The Selznick Studio unknown books
1966137871Paris: Parc Film 1966. Archive of 46 vintage reference stills for the 1966 French film. Each photograph numbered using two different numbering systems in holograph marker and pencil. A single photograph shows director Varda with Catherine Deneuve on the set. <br/><br/>A writer and his pregnant wife mute from a car accident move to a remote village while he works on a novel. Fantasy and reality fact and fiction begin to blend together as he transforms the villagers into characters in his story. In his 1969 review Roger Ebert called The Creatures "a complex and nearly hypnotic study of the way fact is made into fiction. It seems to operate on many levels but in fact it operates on only one illustrating how fantasy reality and style are simultaneously kept suspended in the mind of a creative writer." <br/><br/>Three photographs 10.75 x 8 inches. Very Good plus with light scratches. <br/><br/>Remaining photographs 4.75 x 3.5 inches. A few photographs lightly worn else generally Near Fine. Parc Film unknown books
1992148720Tokyo: Dentsu Music and Entertainment 1992. Draft script for the 1993 film.<br/><br/>Based on essays by Hyakken Uchida. Following World War II a retired professor finds late in life that his quality of life is greatly reduced in war-torn Tokyo. Denying despair he pursues writing and celebrates his birthday with a group of his adoring students. <br/><br/>Yellow titled wrappers perfect bound dated 1992.11.5. 107 leaves with last page of text numbered 197. Xerographic duplication printed on rectos and versos. Pages Fine wrapper Near Fine. Dentsu Music and Entertainment unknown books
1957130852Hollywood: Paramount Pictures 1957. Final Draft script for the 1958 film. Actor Van Heflin's copy with his annotations throughout. <br/><br/>A young officer in the army of Empress Catherine of Russia is on his way to his new duty station at a remote outpost. During a blinding snowstorm he comes upon a stranger who was caught in the storm and is near death from freezing. He rescues the man and eventually brings him back to health. When the man is well enough to travel the two part company and the man vows to repay the officer for saving his life. Will their paths cross again<br/><br/>Filmed on location in Belgrade Serbia. <br/><br/>Red titled wrappers noted as copy No. 3 on the front wrapper. Title page present dated December 1957 noted as Final Screenplay with credit for writer Pushkin. 142 leaves mimeograph duplication with annotations throughout. Pages Near Fine wrapper Near Fine internally bound with two gold brads. Paramount Pictures unknown books
1962145348United Kingdom: Pinewood Studios / American International Pictures AIP 1962. Shooting script for the 1963 film. Copy from the StudioCanal archives with a letter of provenance laid in. <br/><br/>Based on the simultaneously-published novel "The Mindbenders" by screenwriter James Kennaway about a professor brainwashes himself to stop loving his wife in an attempt to clear the name of a colleague suspected to be a Russian double agent who killed himself after undergoing similar experiments. Released in the US as a double feature with "Operation Bikini."<br/><br/>Shot on location in England. <br/><br/>Tall blue titled wrappers noted as SHOOTING SCRIPT dated March 1962. Title page present dated 26.3.62 noted as SHOOTING SCRIPT with credits for screenwriter James Kennaway. 108 leaves with last page of text numbered 107. Mimeograph duplication rectos only. Pages Fine wrapper Fine internal prong binding. Pinewood Studios / American International Pictures [AIP] unknown books
1970153149N.p.: N.p. 1970. Second Draft script for the 1974 film.<br /> <br /> In 1969 Julian Barry was hired by Columbia Pictures to write the screenplay for a dramatic biographical account of comedian Lenny Bruce's life. Shortly thereafter the project was delayed reportedly due to studios' demand for romances as a result of Arthur Hiller's successful 1970 romantic drama "Love Story" leading Barry to approach theatre director Tom O'Horgan about adapting the screenplay for the stage. The play was a success running on Broadway from May 1971 to June 1972 and earning its lead Cliff Gorman a Tony Award in 1972.<br /> <br /> The finished film completed two years later was Bob Fosse's third directorial effort and first non-musical with standout performances by Dustin Hoffman as Bruce and Valerie Perrine as his wife Honey. A tour de force shot in black and white in a documentary style interspersed with interviews jumping back and forth from Bruce's early rise to fame to his twilight days and eventual death.<br /> <br /> Nominated for six Academy Awards including Best Picture Best Director and Best Screenplay. Nominated for the Palme d'Or.<br /> <br /> Green titled wrappers noted as Second Draft and production No. 8895 on the front wrapper dated May 19 1970. Title page present dated May 19 1970 noted as Second Draft with credits for Julian Barry. 152 leaves with last page of text numbered 149. Xerographic duplication rectos only. Pages Near Fine wrapper Near Fine bound with two gold brads. N.p. unknown
1953152724N.p.: N.p. 1953. Vintage oversize borderless matte-finish double weight photograph of Charlton Heston receiving a massage on the set of the 1953 film. With the stamp of photographer Bill Avery on the verso. <br /> <br /> A Chief of Scouts mistrusts the Apache tribe after the chief refuses to sign a peace treaty but his concerns are disregarded by the US Army. <br /> <br /> Bill Avery worked as a photographer at Columbia Pictures in the early twentieth century with a brief interlude working as a combat cameraman during World War II. He also worked at MGM under noted photographer C.S. Bill and occasionally worked as a freelance publicity photographer shooting iconic images of Elvis Presley Jack Lemmon Katharine and Audrey Hepburn and Shirley MacLaine among many others.<br /> <br /> Shot on location in Texas.<br /> <br /> 9 x 13.5 inches. Near Fine. <br /> <br /> Pitts 166. N.p. unknown
1953152724N.p.: N.p. 1953. Vintage oversize borderless matte-finish double weight photograph of Charlton Heston receiving a massage on the set of the 1953 film. With the stamp of photographer Bill Avery on the verso. <br/><br/>A Chief of Scouts mistrusts the Apache tribe after the chief refuses to sign a peace treaty but his concerns are disregarded by the US Army. <br/><br/>Bill Avery worked as a photographer at Columbia Pictures in the early twentieth century with a brief interlude working as a combat cameraman during World War II. He also worked at MGM under noted photographer C.S. Bill and occasionally worked as a freelance publicity photographer shooting iconic images of Elvis Presley Jack Lemmon Katharine and Audrey Hepburn and Shirley MacLaine among many others.<br/><br/>Shot on location in Texas.<br/><br/>9 x 13.5 inches. Near Fine. <br/><br/>Pitts 166. N.p. unknown books
1971152753London: Hammer Film Productions 1971. Draft script for the 1972 Hammer film here under the working title "Dracula Today." An unusual contemporaneous Xerographic duplicated script with copied line annotations on every page except one script page and title page with annotations in holograph marker on versos of last three pages. <br/><br/>The seventh Hammer Dracula film the sixth starring Christopher Lee and the first since "Dracula" 1958 to reprise Peter Cushing in the role of Van Helsing. Preceded by "Scars of Dracula" 1970 and followed by "The Satanic Rites of Dracula" 1973. <br/><br/>Dracula is brought back to life in modern London and preys on young party-goers including Van Helsing's descendant Jessica Van Helsing Stephanie Beacham.<br/><br/>Set in London shot on location in London and Hertfordshire England. <br/><br/>Self-wrappers integral with title page with credits for screenwriter Don Houghton. 144 leaves with last page of text numbered 151. Xerographic duplication rectos only. Pages Very Good plus with title page beginning to separate from spine and singeing to verso of four pages bound with tape binding.<br/><br/>Johnson and Del Vecchio pp. 349-352. Hammer Film Productions unknown books
1965151829N.p.: N.p. 1965. Archive of 14 original reference photographs taken on the set of the 1965 film and two original contact sheets with 24 images of cast and crew members at what appears to be a wrap party. Several photographs with manuscript ink annotations to the verso identifying figures in the images. One photograph date-stamped APR 27 1964 inscribed on the recto by uncredited location manager Howard "Dutch" Horton to production supervisor John Palmer and another photograph inscribed to Palmer from an unknown crew member in manuscript ink annotation to the verso. <br /> <br /> From the collection of John Palmer.<br /> <br /> Included with the collection is a brief typescript note signed from publicist Phil Gersdorf to Palmer gifting Palmer the contact sheets. <br /> <br /> Based on Boris Pasternak's controversial Nobel Prize-winning 1957 novel following a married physician whose life is irreversibly changed by the Russian Revolution and resulting Civil War. Nominated for ten Academy Awards winning five including Best Screenplay and Best Cinematography. <br /> <br /> Pasternak's novel was widely banned in the Soviet Union due to its perceived criticism of the Soviet government forcing director David Lean to begin filming on location in Spain-chosen in large part as a result of his positive experiences filming "Lawrence of Arabia" there several years prior as well as the promise of snow. The film was shot over ten months in Soria and Aragon and at the Aldeadavila Dam with a large-scale Moscow set built outside of Madrid as documented throughout the archive. An unseasonably warm winter in Spain obligated production to head to Finland and Canada in the final months of shooting in order to obtain a sufficiently wintry backdrop for landscape scenes. <br /> <br /> The archive includes eleven photographs of cast and crew members between takes on the Moscow set several shots featuring Palmer and director David Lean during a parade scene with crowds of extras in Soviet militia garb in the background. The Moscow photographs in particular highlight the intricate set and costume design elements which went into constructing the mock city including several striking images of parade participants holding huge portraits of Soviet officials. <br /> <br /> An unusual addition to the collection is a photograph of Palmer in conversation with noted Austrian-American director Fred Zinnemann who collaborated with actor Omar Sharif in "Behold a Pale Horse" earlier in 1964. <br /> <br /> Shot on location throughout Spain Finland and Canada. <br /> <br /> Photographs and contact sheets varying sizes. All materials generally Very Good plus several photographs with moderate toning. N.p. unknown
1999160857Santa Monica CA: Jerry Bruckheimer Films 1999. Revised Draft script for the beloved 2000 film dated September 10 1999. Accompanied by a binder of various production documents along with an Autograph Letter Signed from Set Decoration Buyer Margaret Hungerford on the film's custom letterhead dated Oct. 11 1999.<br /> <br /> The binder of production documents includes 90 pages of staff and crew lists production memos information regarding housing contact sheets and schedules details regarding extras a copy of a three page accident report and more. <br /> <br /> Based on the true story of coach Herman Boone portrayed by Denzel Washington and his attempt to integrate a high school football team in 1971.<br /> <br /> Set in Alexandria Virginia shot on location in Georgia and Virginia. <br /> <br /> Script housed in a generic black vinyl three-ring binder. Title page present dated September 10 1999 noted as BLUE REVISION with credits for screenwriter Gregory Allen Howard. 104 leaves with last page of text numbered 103. Xerographic duplication rectos only. Pages Near Fine three-ring binder Near Fine.<br /> <br /> Production documents housed in a generic white three-ring binder. Near Fine overall with some faint soiling on the binder exterior. Jerry Bruckheimer Films unknown
1952148479Culver City CA: Columbia Pictures 1952. Vintage publicity photograph of Dr. Seuss Theodor Seuss Geisel and young actor Tommy Rettig from the 1953 film.<br/><br/>The only feature film written by Geisel Dr. Seuss who wrote the story co-wrote the screenplay and the lyrics to songs. <br/><br/>A Technicolor musical fantasy about a boy Rettig who dreams he is a world ruled by a diabolical piano teacher Dr. Terwilliker Hans Conried forever enslaving children and forcing them to play a piano so immense it takes 500 children to play it.<br/><br/>Nominated for one Academy Award.<br/><br/>8 x 10 inches. Near Fine.<br/><br/>Complete collation details available on request.<br/><br/>Rosenbaum 1000. Columbia Pictures unknown books
1958153663Burbank CA: National Broadcasting Company NBC 1958. Archive of six Revised Draft scripts for the 1958 three-part television episode which originally aired on June 25 1958 on NBC. Collection includes three scripts noted as Acts I-III and one script duplicate of Act I only and two scripts compiling all three acts. Also included are two typescript pages noting story outlines for a proposed "87th Precinct" television series. Each script signed by screenwriter Larry Cohen and three scripts with manuscript pencil and ink annotations by Cohen throughout noting deletions and substantive revisions. <br /> <br /> "Kraft Theatre" was a dramatic anthology television series which aired on NBC from 1947 to 1958. In this installment loosely based on Ed McBain's "87th Precinct" novel series a solitary widow whose frequent calls to the police to report a burglar are usually ignored turns up dead in her apartment. <br /> <br /> An early venture for screenwriter Larry Cohen who would go on to write Blaxploitation films "Bone" 1972 "Black Caesar" 1973 and "Hell Up in Harlem" 1973 as well as several popular horror and science fiction films including "It's Alive" 1974 "God Told Me To" 1976 and "The Stuff" 1985. <br /> <br /> Set and shot on location in New York. <br /> <br /> Act I Revised Script with pencil annotation on the front wrapper:<br /> <br /> Self wrappers. Title page present noted as REVISED dated 6/17/58 with credits for screenwriter Larry Cohen. Title page integral with the front wrapper. 30 leaves with last page of text numbered I-24. Mimeograph duplication rectos only. Pages Very Good plus with the last leaf detached from the binding partially bound with a single staple to the top left corner. <br /> <br /> Act II Revised Script:<br /> <br /> Self wrappers. Title page present noted as REVISED dated 6/17/58 with credits for screenwriter Larry Cohen. Title page integral with the front wrapper. 43 leaves with last page of text numbered II-68. Mimeograph duplication rectos only. Pages Near Fine partially bound with a single staple to the top left corner. <br /> <br /> Act III Revised Script:<br /> <br /> Self wrappers. Title page present noted as REVISED dated 6/17/58 with credits for screenwriter Larry Cohen. Title page integral with the front wrapper. 34 leaves with last page of text numbered III-103. Mimeograph duplication rectos only. Pages Near Fine partially bound with a single staple to the top left corner. <br /> <br /> Act I Revised Script with no pencil annotation on the front wrapper:<br /> <br /> Self wrappers. Title page present noted as REVISED dated 6/17/58 with credits for screenwriter Larry Cohen. Title page integral with the front wrapper. 30 leaves with last page of text numbered I-24. Mimeograph duplication rectos only. Pages Near Fine partially bound with a single staple to the top left corner. <br /> <br /> Complete script:<br /> <br /> Lacking wrappers and title page possibly as issued. 144 leaves with last page of text numbered III-136. Mimeograph duplication rectos only. Pages Near Fine partially bound with a single staple to the top left corner. <br /> <br /> Revised complete script:<br /> <br /> Lacking and title page possibly as issued. 94 leaves with last page of text numbered III-87. Mimeograph duplication rectos only. Pages Near Fine partially bound with a single staple to the top left corner. National Broadcasting Company [NBC] unknown
