Eleven Issues of FILM A DOBA, the CZECHOSLOVAKIAN FILM JOURNAL that was, during the Sixties and Seventies, both a well respected publication of reviews of Czech and International Films, and an important intellectual force during the Russian Occupation. Ten of these issues are from the 1970s and one is from 1967, all years in which the Czech film industry was highly regarded even while being regulated by the Russians.

The eleven issues are from: 1967 (1), 1972 (1), 1973 (3), 1975 (2), 1976 (2), 1977 (1), and 1978 (1).

Softcover magazines, side stapled, 8x10.5 inches, approximately 50 to 60 pages each.

The eleven issues are in FAIR to GOOD condition, the issues all have a stiff vertical crease down the middle from being folded in half (perhaps delivered that way); some of the issues have bumped/creased spine ends, most have some edge and corner wear; the covers have some soiling; there are some small stains and a bit of writing here and there, a couple of the covers are pulling from the staples; internally, the pages are printed on cheap paper that has browned (this was during the Russian occupation, after all); one page has a long horizontal tear across its face that has been repaired with clear tape; there are creases and other signs of handling; nonetheless these 11 issues are solid and complete.

An interesting look at one aspect of the intellectual and artistic life in Czechoslovakia during the Russian occupation.

Issues of Film A Doba published during the Russian Occupation are hard to find.

INTERNATIONAL BUYERS PLEASE NOTE: These 11 issues will require additional shipping charges. After placing your order you will be notified of the additional charges and be able to accept or reject them before your payment is processed. Or you can contact us ahead of time to find out the shipping charge to your country. Thanks.

12:01 P.M. First Revision SCREENPLAY by JONATHAN HEAP and STEPHEN TOLKIN. Based on a Short Story by RICHARD LUPOFF. 12:01 P.M. is a short film based on the 1973 science fiction short story by Richard Lupoff. It was first shown in 1990 and was nominated for an Academy Award. Many believe that Groundhog Day stole the idea for its film from 12:01 P.M. A different film based on the story 12:01 P.M. was released in 1993. Copy machine printed on plain white paper (photocopied drafts were, and still are, used for production and working scripts because they can be easily made and quickly sent to a film's writers, producers, directors, etc.), 8.5x11 inches, 3 hole punched but bound with staples at the upper left corner, 25 pages plus title page, pages printed on one side only. GOOD MINUS condition, the pages are creased at all their corners, the title page is creased with some small tears along its left edge, there is wear around the two upper staples including some extra staple holes and staple impressions, the last page has pulled from the staples (i.e. is loose), otherwise a complete, clean, clear copy. SCARCE FIRST REVISED DRAFT of this groundbreaking science fiction short film. It is the only copy I have and the only copy I have ever seen. About the 1990 film 12:01 P.M. (from Wikipedia): ******12:01 PM is a 1990 short film starring Kurtwood Smith. Directed by Jonathan Heap, it originally aired on cable television in 1990 as part of the Showtime 30 Minute Movie anthology series. It was nominated for an Academy Award.

It is the first film adaptation of the short story "12:01 PM" by Richard A. Lupoff, which was published in the December 1973 edition of The Magazine of Fantasy and Science Fiction. The major plot device is a time loop or time bounce, and bears great similarity to that of the 1993 film Groundhog Day. Lupoff and Jonathan Heap, director of the 1990 film, were "outraged" by the apparent theft of their idea, but after six months of lawyers conferences and substantial expenses, they decided to drop the case against Columbia Pictures. In the 1990 film, Kurtwood Smith plays Myron Castleman, an everyman stuck in a loop that forces him to constantly relive the same hour of his life over and over, being the only person aware of this. During one loop, he discovers that a scientist named Nathan Rosenbluth has predicted an event that matches his experience. Castleman calls him and explains what is going on, however, Rosenbluth is highly skeptical of his claims. Over the next loops, Myron struggles to get into contact with Rosenbluth again, and in the process becomes frustrated to the point of screaming at his secretary and throwing his suitcase into traffic. Eventually, he does manage to talk to Rosenbluth, who initially dismisses Myron as crazy until Myron describes the transition as the scientist had predicted (including the phrase "Consciousness is an independent variable," which is central to Rosenbluth's theories). The professor sadly informs Castleman that there is nothing that can be done, causing Myron to become hysterical and shoot himself. There is a brief pause until Myron finds himself back at the beginning of the loop, realizing that he is trapped for eternity. This version has NEVER BEEN RELEASED ON DVD IN THE U.S. In the 1993 film the main character keeps reliving the same 24 hour period (which in this case restarts at one minute past midnight, rather than midday as in the other versions). This version differs from the 1990 film in that it features a much lighter and more comedic tone, and that the protagonist ultimately finds a way to correct the time loop over the course of the film. This version was released on DVD in the United States on November 28, 2006.******

Glossy 8x10" photo of ALMA RUBENS. This is an original publicity / press photo of Alma Rubens, undated but circa 1920. Rubber-stamped on the backside is "ALMA RUBENS / Appearing in / William Fox Photoplays". Written in pencil on the backside, below the rubber-stamped info is: "Keep one or Both for Files". VERY GOOD condition, toning to the edges, some creasing to the corners, a small piece of tape with "Alma Rubens" typed on to it is attached to the bottom white margin.

The photo itself is soft-focus. Printed on the photo in white is "Autrey 10". About ALMA RUBENS (from Wikipedia and IMDB): ******Alma Rubens (1897 - 1931) was an American film actress. Alma Rubens was born Alma Genevieve Reubens in San Francisco, California. She was interested in entertaining at an early age. By the time she was 19 she had become a full-fledged star. Her break came in 1916 in the film Reggie Mixes In (1916). Six more films followed that year, and she won critical acclaim in The Half-Breed (1916). In 1917 she again starred in a box-office smash, The Firefly of Tough Luck (1917). She became a busy young actress with role after role and hit after hit. In 1924, as Mildred Gower, she performed magnificently in The Price She Paid (1924). After a busy 1925, Alma suddenly found it difficult to obtain work, but it was not because her star had suddenly dimmed - it was because of her addiction to heroin. The money she made dwindled away in search of the next high. She was in and out of mental asylums, but it didn't really help much because she was still dabbling in drugs. Weakened by her habit, she died in Los Angeles in 1931, of pneumonia. She was less than a month away from her 34th birthday. Her final two films were two years earlier, Show Boat (1929) and She Goes to War (1929).******

ORIGINAL RELEASE SCRIPT / SCREENPLAY of THE PRIVATE LIFE OF HENRY VIII, Starring CHARLES LAUGHTON, Directed by ALEXANDER KORDA, Written by Lajos Biro. This Original "Release Script" is undated, but such documents, created to archive every shot, scene and line of dialogue in the finished film, were normally produced just after a film was "in the can" and just before or just after the finished film was released. The film was Produced and Shot in Britain by London Film Productions Limited, and was Released in the U.S. by United Artists in August 1933, so this "Release Script" would be circa 1933, though it is possible this final record of the film was produced later. Original mimeographed pages in tan paper covers, title typed on to front cover, mimeographed on 8" x 13" paper, mimeographed on one side only on fine paper that is watermarked "64 Mill / Hard Sized", bound with 3 staples at the left margin, 46 pages. Contains 2 pages of credits, followed by a reel by reel, shot by shot continuity of the film, followed by a reel by reel dialogue continuity of the film. Release Scripts and Continuity Scripts (Continuities) were an important part of the film industry in its early days. They were typically created just before or just after a film was released, in order to create a written "copy" of the film. A good "Continuity" provides a transcription of every shot, scene and piece of dialogue, as it occurred in the finished film, something that could obviously not be known until a film was completed and "in the can". Continuities were created both for copyright protection and for an original

"record" of a film, thus a copy might be kept by the studio and by the studio's legal department. Many early films easily degenerated, and many others were wiped out to recover their silver. A true continuity script was therefore often the only archived, shot-by-shot, scene-by-scene, word-by-word, record of many early films. One could, conceivably, reconstruct a film from a Release Script or Continuity. GOOD condition, the rear cover is disbound, some of the latter pages have pulled from the upper staple, the staples are rusted, the front cover has some edge wear, creases and light soiling, the inner pages are very nice, a spot of foxing here and there, one page is folded at its lower corner (the paper was cut incorrectly, not affecting text), the mimeographed printing runs somewhat dark and light but is always clear and fully legible.

Rare Original Release Script / Screenplay of Charles Laughton's great film.

ANNA AND THE KING OF SIAM. SCREENPLAY by TALBOT JENNINGS. PRESENTATION COPY to HERBERT RYMAN, the Great Disney Imagineer. Handwritten in pencil on the front cover is: "to herbert Ryman / July 7, '45". I don't know who presented this copy to Ryman, whether it was Talbot or?? Carbon typescript. Paper Covers, bound with 2 brass brackets, 8.5x11", printed on one side only (rectos), pages numbered in three parts - 87, 74 and 32 pages (193 total pages). Cover has a typed title and author. The script does not have a printed date, but the written presentation on the cover is dated July 7, 1945, and clearly this is a draft that was written prior to Sally Benson being brought on as a co-writer, so early 1945 is most likely the date of this version of the film script. CONDITION: The covers are very worn, the edges have chips, tears and creases, the covers have some stiff creases and lighter creases from handling, nonetheless the covers are still doing their job well, and the typed titling and written presentation on the front cover are bright and fully legible. Internally, the title page has torn from its upper bracket, is coming loose, and has numerous creases; the next couple of pages have a few crease but are still sturdy and in place; all the pages are lightly toned / browned with age; otherwise the pages are just lightly used and still complete, bright, clean and unmarked. A VERY RARE EARLY DRAFT of ANNA AND THE KING OF SIAM with the GREAT ASSOCIATION to HERBERT RYMAN. You can read about Talbot Jennings on Wikipedia and about Herbert Ryman on Wikipedia and many other online sites.

DUEL IN THE SUN - Film Footage Schedule for All Domestic Release Prints, Showing All Positive Splices. PRINTS NUMBER 1 to 307. Dated May 1, 1947. Unusual Piece of Motion Picture Ephemera. Heavy stock paper covers, typed title and other info on front cover, two inner pages with mimeographed information, side stapled. Condition: Staples rusted but holding well, some creasing to the corners from handling, overall bright and clean. "Duel in the Sun", one of the great films of the 20th century! Martin Scorsese stated that this was the first film he ever saw and holds it in high regard. He mentioned it in his documentary of American movies. Please be sure you noted that this has only TWO PAGES plus covers. Yes, it's very thin, but it's a RARE and interesting piece of motion picture history.

A FAREWELL TO ARMS (the 1958 Motion Picture) - COMBINED DIALOGUE AND CUTTING CONTINUITY SCRIPT - "In Cinemascope". Continuity Script dated January 10th, 1958. Length of the film 13,677 Ft. 8 Frs. A SELZNICK STUDIOS FILM of ERNEST HEMINGWAY'S NOVEL. Printed gray paper covers, 8.5" x 11", side-bound with 3 brass brackets, pages numbered consecutively and by reel, 238 pages / Reel 18 Page 5. Pages printed on one side only. The front and rear covers are stained from a spill, the first 2 pages are also heavily stained, the next ten or so pages have staining to their top margin, then the stain disappears. The covers are well worn, have a couple 3" closed tears, lots of edge chips and closed edge tears. Internally, after the staining on the beginning pages, all the pages are bright and clear. SCARCE Reel by Reel Dialogue and Cutting Continuity to A FAREWELL TO ARMS, the film based on Hemingway's Masterpiece. Continuities (Continuity Scripts) were an important part of the film industry in its early days. They were typically created after a film was "in the can", but before it was released, in order to create a written "copy" of the film. A good "Continuity" provided a transcription of every shot and scene in detail as it occurred in the finished film, something that could obviously not be known until a film was completed. Continuities were created both for copyright protection and for a "record" of a film. Many early films easily degenerated, and many others were wiped out to recover their silver. A true continuity script was therefore often the only archived, scene-by-scene, record of many early films. Provenance of the late Peter Howard, and his now shuttered Serendipity Books, Berkeley, California. Peter was a long time member, and at one time President, of the Antiquarian Bookseller's Association of American. He was very well known in the antiquarian book arena. Years ago Peter bought much of the archives of Selznick Studios,. This continuity script is from that archive.

KRISTIN. Screenplay by ERNEST PASCAL. From the Novel KRISTIN LAVRANSDATTER by SIGRID UNDSET. The screenplay is undated but perhaps circa 1960 (Ernest Pascal died in 1966). The novel Kristin Lavransdatter was first published in 1921 and has been in print ever since. This screenplay by Ernest Pascal was never produced. The only film of the novel that I am aware of is a 1995 Swedish Film directed by Liv Ullmann. That film, in Swedish, has no relation to this screenplay. Photocopied on plain white paper (photo offset copies were, and still are, common among production and working scripts; drafts could be quickly made and sent to the film's writers, producers, directors, etc.), 8.5x11 inches, 170 pages printed on one side only, pages are 3-hole punched and bound in heavy stock yellow paper covers with 2 brass brads. VERY GOOD condition, the covers have some light soiling and edgewear, otherwise the script is tight, bright, clean and unmarked. RARE and UNUSUAL screenplay by ERNEST PASCAL of KRISTIN LAVRANSDATTER.

OSTS & BUDGET BREAKDOWN for the filming of THE SCALPHUNTERS in MEXICO. Includes all costs for an expected 66 day shoot in Mexico. The date of the budget breakdown is 1/25/67, with photography started on 2/23/67. The film was released by United Artists on 4/2/68, more than a year after this working budget.

The film was produced by Norlan Productions / Bristol Pictures. It was directed by Sydney Pollack, and starred Burt Lancaster.

Approximately 70 photocopied 8.5x14 inch pages, printed on one side only, 2-hole punched at the top, bound with a metal bracket, held in a manila folder. (Photocopying was, and often still is, how original copies of working budgets, with changes, were quickly produced and distributed to studios, producers, agents, directors, and others involved in a motion picture production.)

Every page has detailed information regarding the film's budget, including costs of extras, gaffers, stars, makeup and hairdressing, set designs, equipment, etc. etc. etc. This was truly a working budget, with white-out changes here and there throughout as cost estimates changed.

The budget pages are in VERY GOOD condition, lightly age toned, some signs of handling, and some white-out changes here and there (as noted above), otherwise the pages are bright, clean, clear and unmarked. The manila folder holding the budget breakdown has creases, wear, and some small stains.

A wonderful and intimate look at the breakdown of every cost involved in the production of a major motion picture in 1968.

About THE SCALPHUNTERS (from Wikipedia):

******The Scalphunters is a 1968 American Western film starring Burt Lancaster, Ossie Davis and Telly Savalas. The film was directed by Sydney Pollack, with the score written by Elmer Bernstein. Davis was nominated for a Golden Globe for Best Supporting Actor for his performance in the film. Filming took place in Sierra de Organos National Park in the town of Sombrerete, Mexico.******

1969 FILM SCRIPT for the RUSSIAN-SWEDISH FILM "THE MAN FROM THE OTHER SIDE". FILM SCRIPT / "Literary Scenario" by Volodya SEMITJOV, Emil. BRAGINSKY, Yuri EGOROV, and V. SOLOVIEV. This is an English translation of the script, perhaps produced in the hopes of finding financing and distribution in the United States. The English translation (from the Swedish) was by ALAN BLAIR. The SCRIPT / SCREENPLAY was for a RUSSIAN-SWEDISH STUDIOS CO-PRODUCTION. The film was produced, and was released in 1972 by Warner-Columbia International. The title page reads "In co-production: OMEGA FILM (Stockholm) // GORKY FILM STUDIO (Moscow)". The date on the front page is "Moscow, April 1969". Mimeographed pages / printed from typescript, 8" x 11.5", plastic spiral bound, clear plastic front cover, heavy stock paper back cover, 91 numbered pages, plus title page, plus a 14 page summary laid-in. The script with its laid-in items are in a Manila Folder with the typed name "MR. PAUL KOHNER", the handwritten title "THE MAN FROM THE OTHER SIDE", and the handwritten info: "(?) only copy" (i.e. somebody's only copy). Paul Kohner was a renowned Hollywood talent agent. The script and its laid-in pages are in VERY GOOD condition, with all the pages bright and clear. The manila folder is very worn and weary, with lots of tears, soiling, creases, etc., nonetheless it provides some nice provenance. Rare and Unusual Russian Swedish Film Production Script from 1969.

THE SUN BEYOND THE BORDER. ORIGINAL UNPRODUCED SCREENPLAY by MENAHEM GOLAN and JOSEPH GROSS. The screenplay is undated but likely early 1970s. The film was to be an Israeli production. The title states that the screenplay is the Property Of: NOAH FILMS, 32 Allenby Road, TEL-AVIV, ISRAEL. The screenplay is bound in plain black vinyl covers, bound with three metal brads. There is the label of Super Agent Paul Kohner Inc. on the front cover. The inner pages are photocopied on plain white paper (copy machine copies were, and still are, common among production and working scripts; drafts could be quickly made and sent to various writers, producers, directors, and others involved in a film project), 8.5x11 inches, 96 pages plus a title page, pages printed on one side only. GOOD CONDITION: The covers are worn at the edges and corners where they overhang the inner pages; internally the pages are age toned, there are numerous early copy machine dust marks, spots, and smudges, and page 11 is creased and torn at its bottom corner area, otherwise the pages are bright, clean and fully legible. A solid, nice copy, as Paul Kohner received it from Menahem Golan. You can read about MENAHEM GOLAN and PAUL KOHNER on Wikipedia and elsewhere on the Internet.

NASHVILLE, Original Film Release Dialogue Script dated July 11, 1975. A Robert Altman film. Screenplay by Joan Tewkesbury.

A RELEASE DIALOGUE SCRIPT is a special version of the screenplay, a post production version that provides a log of every visual action and every audible sound for each of the frames and footage on the reels of a film. Basically a written copy of a film. One could conceivably create a duplicate of a film based on its Release Dialogue Script.

COPY of and SIGNED by the film's Title Designer, DAN PERRI, a highly regarded film title designer

who worked on the films Star Wars, Taxi Driver, All The President's Men, Close Encounters Of The Third Kind, Exorcist, and many, many more. It is his personal copy, with his SIGNATURE and his ownership NAME/TITLE LABEL on the first page.

Black textured paper covers, inner pages photocopied on 8.5x11 inch light green paper (photocopying was, and still is, how original copies of screenplays were quickly produced and distributed to actors, producers, directors, editors and others involved in a film production), pages printed on one side only, 3-hole punched and bound with 3 brass brads. Approximately 200 pages (pages are numbered by reel, there being 8 reels, each reel with a part A and B).

VERY GOOD condition, the covers have some light general wear, the three brass brads have oxidized, the inner pages are lightly age toned, the first and last page have creases and light soiling, there is a stiff crease to the bottom corner of the last few pages, "NASHVILLE" is written in black marker on the spine page edges, otherwise the inner pages are just lightly used, tight, bright, clean and clear.

RARE ORIGINAL, SIGNED, RELEASE DIALOGUE SCRIPT of one of the greatest American films of the 20th century.

About Robert Altman's Film NASHVILLE (from Wikipedia):

******Nashville is a 1975 American satirical musical ensemble comedy drama film directed by Robert Altman. The film follows various people involved in the country and gospel music businesses in Nashville, Tennessee, over a five-day period, leading up to a gala concert for a populist outsider running for President on the Replacement Party ticket.

Nashville was released by Paramount Pictures in the summer of 1975, and opened to critical acclaim. Patrick McGilligan of The Boston Globe wrote that it was "perhaps the most talked about American movie since Orson Welles' Citizen Kane." Nashville was nominated for a total of 11 Golden Globe Awards, to date the highest number of nominations received by one film. It was also nominated for five Academy Awards, including Best Picture, Best Director (Altman), and Best Supporting Actress (both Lily Tomlin and Ronee Blakely). Selected for preservation in the United States National Film Registry in 1992, it is now considered Altman's magnum opus, and by many critics to be one of the greatest films of all time.******

About DAN PERRI (from Wikipedia):

******Daniel Richard Perri, b.1945, is a film and television title sequence designer, responsible for the main titles of many films including: The Exorcist (1973), Nashville (1975), Taxi Driver (1976), Star Wars (1977), Raging Bull (1980), Airplane! (1980), and Suspiria (2018).

Possibly Perri's best known title sequence project came about in 1976 when he was introduced to director George Lucas, who invited Perri to Industrial Light & Magic. Perri eventually developed a concept for presenting a textual introduction to the film in which the credits are shown distorted by a sharp perspective and rolling along towards a distant vanishing point. Lucas approved the idea and Perri produced sketches and prototype mechanical artwork that gave birth to the now familiar opening crawl sequence that appears in the Star Wars films.

Perri has stated that Lucas offered him a share of royalties from the film in lieu of his ordinary fee; Perri rejected the offer and has regretted his choice ever since.******

GRAHAM GREENE - EARLY DRAFT SCREENPLAY of his NOVEL "HONORARY CONSUL". Screenplay by John Melson. This draft is dated February 1, 1976, years before the film finally went into production and seven years before the film was released.

It appears that this 1976 draft was being produced by Capricorn Productions of Venice, California. The company name / address / phone stamp is on the title page. It also appears that this project was being shopped by PAUL KOHNER, a Hollywood Super Agent. Laid in is his handwritten note on his letterhead that states: "NO / (Returned?) by (??) / Not very high on it. / Do you still want / discuss with him?" Also in the hand of Paul Kohner is a note on the title page: "Return to Pamela" which is then circled along with the company stamp of Capricorn Productions.

This 1976 John Melson draft was apparently NEVER used. Capricorn Productions abandoned the movie project. Norma Heyman later took on the task of producing a film version of the book and another writer, Christopher Hampton, was brought in to write the screenplay. The title of the film was CHANGED to BEYOND THE LIMIT for its U.S. release, but retained the title HONORARY CONSUL for the U.K.

(Interesting Note: By producing the film The Honorary Consul, Norma Heyman, born 1940, became the first British woman to produce an independent feature film by herself.)

Photocopied on plain white paper (copy machine copies were, and still are, common among production and working scripts; drafts could be quickly made and sent to the film's writers, producers, directors, etc.), 8.5x11 inches, 132 pages printed on one side only, pages are 3-hole punched and bound in plain orange paper covers with 2 brass brads.

VERY GOOD condition, the covers have some light soiling and a couple marks, the top of the front cover has several paperclip indents and a small associated tear, otherwise the script is tight, bright, clean and unmarked.

RARE and UNUSUAL Early Draft of GRAHAM GREENE Novel HONORARY CONSUL, with Manuscript Note by PAUL KOHNER.

FANNY AND ALEXANDER - A FILM FOR TELEVISION, by INGMAR BERGMAN. Translated (into English) by Alan Blair.

ORIGINAL DRAFT SCREENPLAY for what BERGMAN INTENDED TO BE a FIVE HOUR, FOUR PART FILM for TELEVISION. The Draft is dated Faro (Sweden), 1979.

Plastic Spiral Bound Screenplay, green paper covers, 8.25x11.75 inches, mimeographed or photocopied typescript, 235 pages plus 3 prelim pages (Title Page, Characters), pages printed on one side only.

There are a few very minor hand corrections, mostly grammatical, here and there, and I noticed one page (page 221) had a handwritten margin comment "How about Alexander". No idea if this was written by an assistant, agent, proofreader, or someone else involved in Bergman's film project.

VERY GOOD condition, the plain green paper front cover has a diagonal crease; internally the pages are just lightly toned at the edges, otherwise

complete, tight, bright, clean and clear copy. A very presentable copy.

The full breadth and beauty of Ingmar Bergman's incredible film is only fully realized in the format he originally intended, the four part, five hour television film. This 1979 screenplay draft was the embodiment of that vision.

However, Bergman was convinced to make a drastically cut version (3 hours versus 5 hours) for limited release in Europe in late 1982 so that the film would qualify for the Academy Awards. After the spliced and diced film finished its very limited European release, and after it won 4 academy awards (it was nominated for six), a 5 hour theatrical film was given limited European theatrical release. That five hour film was basically a spliced together version of the intended four part, five hour television film. Finally, also in 1983, the full four part, five hour television film was shown in Sweden (Fanny och Alexander) in the form Bergman originally intended.

I do not believe that Bergman's preferred 5 hour version was ever filmed in English. His original intent was clearly to have the four part, five hour telefilm made and shown on television in both Sweden and the United States. Thus this 1979 English translated draft screenplay. But instead only the drastically shortened film version was ever released theatrically in the United States. That film was released in 1983, four years after this 1979 screenplay for television was looking for U.S. producers.

This Original 1979 Draft Screenplay for the Full Four Part, Five Hour Television Film was sent to Super Agent Paul Kohner (long time agent for Ingmar Bergman and for many of Bergman's film stars). Paul Kohner's ownership label is on the title page, with his early phone number CRESTVIEW 1-5165.

SCARCE. This 1979 INGMAR BERGMAN Draft SCREENPLAY for his vision of a Five Hour, Four Part FILM for TELEVISION, is the only copy I have, and it is the only copy I have ever seen.

RAGGEDY MAN. SECOND DRAFT SCREENPLAY by William D. Wittliff. The Draft is dated April 30, 1980. Working Copy of Jack Rush, with his signed initials "J. Rush" on the front cover. Jack Rush was a crew member involved in supervising special effects and props, though uncredited on this film. He has highlighted various text in yellow and has made relevant pencil notes and marks here and there throughout. Printed Universal Studio Covers, printed on gray, heavy stock paper, 8.5x11", bound with 3 brass brads, inner pages photocopied on light green paper, (photocopying was, and still is, how original copies of a draft script were quickly produced and distributed to film producers, agents, directors, and others involved in a motion picture production), pages printed on one side only, 103 pages plus a title page. Title written on spine with black marker. VERY GOOD condition, some edge wear, corner tip creases and other light signs of handling. RAGGEDY MAN was Directed by Jack Fisk, based on the novel by William Wittliff and Sara Clark. It stars SISSY SPACEK, ERIC ROBERTS, and SAM SHEPARD. It was released by UNIVERSAL PICTURES on September 18, 1981, almost 1 1/2 years after the date of this Second Draft Screenplay.

THE DEAD ZONE. A SCREENPLAY by JEFFREY BOAM, Based on the Novel by STEPHEN KING.

This is an EARLY DRAFT SCREENPLAY. The early drafts were written by JEFFREY BOAM for LORIMAR STUDIOS in late 1980 and early 1981. In mid 1981 Dino DeLaurentiis bought the film rights from Lorimar, fired Jeffrey Boam and Hired STEPHEN KING to write the screenplay. Stephen King's draft screenplays for the film were written in late 1981 and early 1982. However, DeLaurentiis HATED King's scripts, so King was fired. Another writer was brought in who was also fired, then in late 1982 JEFFREY BOAM was rehired, and finally wrote the final script. So, this EARLY DRAFT is before ALL the CHANGES brought on by various screenplay writers (including King), film studios, etc. Rare as such.

An ORIGINAL, UNPUBLISHED, REJECTED, EARLY DRAFT SCREENPLAY by JEFFREY BOAM, before he was later rehired to rewrite the screenplay.

The screenplay is dated "February 17, 1981", as shown on the title page. The later, very different screenplay that Boam was rehired to write (after King's screenplay was rejected), was finished on November 8, 1982, a year and nine months after this draft. The film itself was released on October 8, 1983.

Pages are photocopied on 8.5x11 inch paper (photocopying was, and still is, how original copies of a draft script were quickly produced and distributed to film producers, agents, directors, and others involved in a motion picture production), pages printed on one side only 124 pages plus a title page.

VERY GOOD condition, just some light signs of handling, overall a great original copy of this early draft screenplay.

About the Film THE DEAD ZONE and its Various SCREENPLAY ITERATIONS including the KING SCREENPLAY DRAFT (from Wikipedia):

******The Dead Zone is a 1983 American horror thriller film Directed by David Cronenberg. The Screenplay by Jeffrey Boam was based on the 1979 novel of the same name by Stephen King. The film stars Christopher Walken,, Brooke Adams, Tom Skerritt, Herbert Lom, Anthony Zerbe, Colleen Dewhurst and Martin Sheen.

The plot revolves around a schoolteacher, Johnny Smith (Walken), who awakens from a coma to find he has psychic powers.

Lorimar Film Entertainment began developing The Dead Zone film adaptation. Producer Carol Baum gave the book to screenwriter Jeffrey Boam and asked him to write a screenplay. "I saw it had great possibilities and agreed to do it," Boam said. He developed a script for director Stanley Donen, who left the project before the film reached production at Lorimar.

Lorimar eventually closed its film division, after a series of box-office failures, to concentrate on Television (Lorimar later tentatively reopened its film production). Soon after, producer Dino De Laurentiis bought the rights to The Dead Zone.

Dino De Laurentiis disliked Boam's screenplay and asked STEPHEN KING to ADAPT HIS OWN NOVEL into a screenplay. However, after receiving STEPHEN KING'S DRAFT SCREENPLAY, De Laurentiis reportedly rejected King's script as "involved and convoluted". David Cronenberg, who ultimately directed the film, said that he also decided not to the use Stephen King's script, finding it "needlessly brutal".

After rejecting Stephen King's Draft De Laurentiis later rejected another script, one written by Andrei Konchalovsky, before eventually returning to Jeffrey Boam to write yet another script. De Laurentiis hired producer Debra Hill to work with Cronenberg and Boam.

Boam submitted the final draft of the screenplay on November 8, 1982.******

CHILDREN ON THEIR BIRTHDAYS. An UNPRODUCED SCREENPLAY Adapted for the Screen by DONNA KANTER and SUSAN BEST, from the Short Story by TRUMAN CAPOTE. This screenplay was DONNA KANTER'S 1983 DIRECTOR'S PROJECT while in the AMERICAN FILM INSTITUTE (AFI) DIRECTING WORKSHOP FOR WOMEN. She was in the class of 1982-1984. The screenplay is a First Draft dated July 23, 1983. Photocopied on plain 8.5x11 inch paper, stapled at the upper corner, 34 pages plus a title page, printed on one side only. GOOD MINUS condition, the first and last pages have creases and soiling, there are numerous staple holes at the upper left corner (though only one staple currently holds the pages together), some pages are dog eared at their top or bottom corner, and their are general signs of handling and use; still a complete copy of an interesting screenplay resulting from the AFI's attempts to get more women into film directing. Though this early, student screenplay was never filmed, its creation at the AFI Directing Workshop for Women certainly had an impact on Donna Kanter. She later established a successful Television and Film Production Company, The Donna Kanter Company. About the AFI DIRECTING WORKSHOP FOR WOMEN (from the AFI site): ******Since 1974, the AFI Directing Workshop for Women has trained hundreds of women in the art of screen directing. Below are the alumnae from each cycle since the start of the program... (CLASS OF 1982-1984 includes Donna Kanter)... Distinguished DWW alumnae include Maya Angelou, Anne Bancroft, Neema Barnette, Tricia Brock, Ellen Burstyn, Rebecca Cammisa, Dyan Cannon, Hanelle Culpepper, Jan Eliasberg, Naomi Foner, Jennifer Getzinger, Lyn Goldfarb, Randa Haines, Victoria Hochberg, Marianne Jean-Baptiste, Lesli Linka Glatter, Lynne Littman, Matia Karrell, Nancy Malone, Becky Smith, Cicely Tyson and Joanne Woodward.******

1984 Original Draft German Screenplay by AGNIESZKA HOLLAND for the Academy Award Nominated Best Foreign Film BITTERE ERNTE / BITTER HARVEST. BITTERE ERNTE - DREHBUCH von AGNIESKA (aka AGNIESZKA HOLLAND) - Korrigierte Fassung - Aus dem Polnischen von ILONA RESZKOWNA. (BITTER HARVEST - Screenplay by AGNIESZKA HOLLAND - Corrected version - from the Polish by ILONA RESZKOWNA.) Note: The Polish Book was by Ilona Reszkowna AND Paul Hengge; Agnieszka Holland; and Hermann H Field. Original Early Draft SCREENPLAY / SCRIPT of this AWARD WINNING GERMAN FILM (many European Film Awards, nominated for Academy Award in the Best Foreign Film category). Screenplay by and Directed by the noted Renowned Female POLISH DIRECTOR AGNIESZKA HOLLAND. Photocopied sheets on 8.5" x 14" legal-size paper (photocopying was, and still is, how original copies of a script were distributed to agents, producers, directors, and others involved in a film), 3 hole-punched in their left margin, pages printed on one side only, 112 pages plus a title page, bound with 3 brass brads. This draft script has a few sections lined out and a few handwritten words, in German. These lines and notes are photocopied on this photocopied draft. GOOD condition: the first page is torn around the 3 punched holes and has pulled from its brass brads. The first and last few pages have creasing, edge wear and some edge chips; all the pages have a black bottom margin, being 8.5" x 11" pages printed on 8.5" x 14" sheets; there are the usual copy machine type of dust marks, etc.; overall the script is complete, bright and clear. RARE DRAFT of this IMPORTANT WEST GERMAN / POLISH FILM by AGNIESZKA HOLLAND.