Item Page

Collection of over 700 Film Scripts by Women Screenwriters.

WOMEN SCREENWRITERS SCRIPT COLLECTION
1914-2001

Described below:

• 1914-1945 (pages 1-38)
• 1946-2001 (pages 39-85)

Id #4655213

A collection of original scripts by women screenwriters beginning in the silent era and running to the peak of its golden era. Spanning the years 1914-1945, this collection contains 253 individual drafts, representing 214 different motion pictures—probably the largest assemblage of its kind ever offered, including scenarios, treatments, early drafts, corrected drafts, final drafts, revised final drafts, and continuities. The archive represents literally every film genre and style, crossing from the silent era into the sound film era, including dramas, musicals, Westerns, pre-Code dramas, women’s pictures, and the emerging film noir style, which began in had reached its apex by the mid-late 1940s.

According to film scholar Marsha McCreadie, between 1900 and the mid-1920s, women outnumbered men by a margin of 10 to 1 as writers of stories, dialogues, scenarios, and screenplays. As the twentieth century drew to a close, only 33 registered working female screenwriters were on record, as compared to 1500 men (McCreadie, p. 4). The single common factor affecting the quantity of female screenwriters in early cinema appears to have been that the novelty and remoteness of the industry allowed for a creative influx of brilliant women from all sectors and geographic regions to try their hand in virtually every cinematic endeavor, including acting, directing, producing, and writing scenarios (McCreadie, p. 6). However, by the time sound arrived on the scene in 1929, opportunities apart from acting had declined precipitously (Francke, p. 26).

A hallmark of the era represented is the extent to which women writers sustained their presence in the film industry during its first 25 years, literally forming the foundation of the screenwriting craft. Seminal screenwriters Frances Marion and Anita Loos nurtured the talent of those coming to Hollywood, writing the first published guides to screenwriting and building a support system that allowed for growth and job opportunity (Beauchamp, p. 9; Francke, pp. 22, 27).

Notable women writers represented include Lillie Hayward, Elinor Glyn, Doris Anderson, Lenore Coffee, Gladys Unger, Gladys Lehman, Marguerite Roberts, Anita Loos, Frances Hyland, Dorothy Davenport Reid, Mary McCall, Jr., and Marion Jackson. Likewise, there are entries from writers who contributed script work in every conceivable genre, including Zoe Atkins, Gertrude Purcell, Eve Unsell, Jane Murfin, Vera Caspary, Sonia Levien, Kathryn Scola, Florence Ryerson, Mae West, Karen De Wolf, Sarah Y. Mason, Bess Meredyth, Agnes Christine Johnson, Gladys Atwater, Lillian Hellman, and Dorothy Parker. Many of these writers are known throughout the literary world for their work represented here and in other genres of literature.

The collection reflects the contribution of women screenwriters to literally every film genre during this period, including comedies, Westerns, musicals, historical dramas, war movies, gangster movies, and melodramas. This was also a classic period for great films about women, and the writers represented in this collection wrote for many of the greatest female movie stars of all time, including Norma Shearer, Ruth Chatterton, Marie Dressler, Jean Harlow, Jean Arthur, Myrna Loy, Irene Dunne, Claudette Colbert, and Barbara Stanwyck. Women wrote male parts as well, including dialogue for stars including actors Clark Gable, Wallace Beery, Fredric March, Leslie Howard, Cary Grant, William Powell, Will Rogers, Ronald Coleman, Gary Cooper and Mickey Rooney.

This period also encompasses the great technological change from silent films to talking films , which promoted the need to write in a way that incorporated dialogue as well as description, along with all the permutations of that paradigm shift. Affected too during this era was the imposition of the stringent production code by the Hays Office in 1934. Nowhere is this more evident than in the career of Mae West, who written work is represented here both prior to the 1934 Hays Code enforcement and after.

In the 1940s and 1950s, the involvement of women in the industry ebbed and flowed with the requirements of a culture in flux. The advent of the Second World War resulted in men being siphoned away overseas, with a new (though smaller) surge in women writing Westerns, war, and suspense films (McCreadie, p. 108). Some women from this era represented here includee Virginia Van Upp, Muriel Roy Bolton, Patricia Harper, Elizabeth Beecher, Dorothy Bennett, Ethel Hill, Anne Froelick and Vicki Baum.

A collection containing literally tens of thousands of pages of unpublished manuscripts, a preeminent record of the contribution of women to the literature of cinema.

Full details available upon request.

CHRONOLOGICAL INVENTORY (1914-2001)

1914

THROW-BACK, THE. By Josephine Lovett. [SCENARIO] [ca. 1914] 15 pp. [includes typed notes by a Mr. Hillyer]

Lovett, Josephine (1877-1958
An incredibly gifted writer who wrote strong, sympathetic roles for women. Josephine Lovett began her career just as the film industry took hold in America. She worked for the Vitagraph film company and learned her craft writing scenarios for short films. THE THROWBACK is one of her earliest efforts. She eventually became a writer at MGM and wrote scenarios, adaptations and screenplays. Her famous titles include ANNIE LAURIE (’27) starring Lillian Gish, OUR DANCING DAUGHTERS (’28), the film that launched Joan Crawford, THE SINGLE STANDARD (’29) for Greta Garbo. So well did she write that Sylvia Sidney mastered the nearly impossible task of convincingly portraying the great operatic character of Cho-Cho San in the non operatic version of MADAM BUTTERFLY (’32) (based on the David Belasco play). In that screenplay Lovett was also able to present the villainous in a sympathetic manner. That screenplay is included in this collection, as is hers for HOT SATURDAY (’32). She received one of the very first nominations for an Academy Award in writing, for OUR DANCING DAUGHTERS (’28), the ultimate Roaring 20s flapper saga.

1916

DEAD MAN’S SHOES. By Elaine Sterne. [SCENARIO] September 21, 1916. 2 pp.

Sterne, Elaine (later Elaine S. Carrington) 1891-1958
One of the earliest women writers who also started her career during the early days of Vitagraph. She learned her craft writing short films of all varieties starting in 1913. She wrote and directed a film in 1916 for Universal called THE PATH OF HAPPINESS. She wrote for silents prolifically until 1923 and then returned in 1929 for two talkies. The first, ALIBI (’29) would received three Academy Award nominations, including that for best picture.

1917

TOM SAWYER. (Clemens, Samuel). Julia Crawford Ivers (screenwriter). Famous Players - Lasky Corp., 1917. 153 pp.

A production draft of this landmark silent adaptation to the screen of Clemens's novel. The December 1917 release was directed by William Desmond Taylor, and starred Jack Pickford, Robert Gordon, Clara Horton, et al. This was the second adaptation of the novel to the screen, preceded by the 1907 Kalem Company production. This copy was utilized in the course of production - it is heavily annotated throughout with notes largely pertaining to props, costumes and sets, along with some references to continuity and editing. There are also a few scattered sketches of set designs and layouts.

Ivers, Julia Crawford (1867-1930)
A legendary early film writer, producer and director. She started writing for film in 1910 via her second husband Oliver Ivers, who partnered Frank Garbutt of Pallas Pictures. This company became part of Paramount. Her career as writer/director began to flourish in the early 1920’s, but her involvement in the case of the murder of director William Desmond Taylor (with whom she often worked) was such a scandal that her directing career ended. She prolifically wrote for the screen until her death.


1926

AMATEUR GENTLEMAN, THE. [Scenario by Lillie Hayward ca. 1926]. About 90 pp.

Hayward, Lillie ( 1891-1977)
Pioneering screenwriter with over four decades in Hollywood, Lillie Hayward exhibited wide appeal and was a tireless promoter for children’s film best exemplified with BLACK BEAUTY(’46), “MY FRIEND FLICKA (’43), and THE SHAGGY DOG (’59) (Francke p. 113, p 153). She started as a script editor in 1919 (her sister had become known as actress Seena Owen under D. W. Griffith and she helped Lillie get a job in the industry.) She was later under contract to Warner Brothers for many years (writing action films), wrote “B” films for Paramount and RKO and finished up her career writing family films for Disney.

1928

INNOCENTS OF PARIS, THE. Screenplay by Ethel Doherty. Story and Dialogue by Ernest Vajda. DIALOGUE AND SOUND SCRIPT December 17, 1928 About 50 pp.

A very early entry in the musical talking film genre. A vehicle for star Maurice Chevalier.

1929

CASE OF SERGEANT GRISCHA , THE . [Screenplay by Elizabeth Meehan] [Draft Script] October 30, 1929 About 110 pp.

GREENE MURDER CASE, THE. Story by S. S. Van Dine Adaptation and Dialogue by Bartlett Cormack Continuity by Louise Long Final Script April 15, 1929 About 80 pp.

One of the first of the great detective films so popular in the 1930’s and based on S. S. Van Dine’s books. Star William Powell became famous for his portrayal of sleuths Philo Vance and Nick Charles

KIBITZER, THE. Adaptation and Dialogue by Sam Mintz and Viola Brothers Shore Scenario by Marion Dix From the Play by Joseph Swerling and Edward G. Robinson RELEASE DIALOGUE SCRIPT October 9, 1929 About 80 pp.

SUCH MEN ARE DANGEROUS. [Screenplay and Adaptation: Ernest Vajda, Story: Elinor Glyn] FINAL SHOOTING SCRIPT November 30, 1929 67 pp.

Glyn, Elinor (1864-1943)
Hailing from backwoods Canada, Elinor Glyn was a celebrated author whose scandalous novel Three Weeks was a smash in belle epoque popular culture; soon after, it was adapted into screenplay by Frances Marion in the early 1930s. (B p. 318, Mc 55-57). In contrast to what she termed the raw and crude style of Cecil B. Demille’s productions, Glyn set out to create the popular IT girl in collaboration with America’s Sweetheart, Clara Bow. She coined the term “it” which she defined as “a strange magnetism that attracts both sexes.” Glyn was highly respected in the Hollywood social circle.

1930

ALONG CAME YOUTH. Screenplay by George Marion, Jr. Scenario by Marion Dix . Final White Script April 26th, 1930 About 70 pp.

ALONG CAME YOUTH. [Orig. MOLINOFF]. Screenplay by George Marion, Jr. Scenario by Marion Dix. Third White Script July 16, 1930 About 70 pp.

GRUMPY. Screenplay and Added Dialogue by Doris Anderson. Release Dialogue Script July 7, 1930. About 40 pp.

Anderson, Doris (1897-1971)
Pioneering screenwriter Doris Anderson wrote dozens of screenplays in the first three decades of sound motion picture. Some of her outstanding films include TEN MODERN COMMANDMENTS (for director Dorothy Arzner) (’27), HULA (for Clara Bow) (’27), WOLF OF WALL STREET (’29), ANYBODY’S WOMAN (’30), THE GAY DIPLOMAT (’31), BEAUTY FOR THE ASKING (’39), WOMEN IN WAR (’40), and NEVER A DULL MOMENT (’50). (Francke, p. 145)

MIN AND BILL (Orig. DARK STAR) by Lorna Moon Scenario and Dialogue by Frances Marion and Marion Jackson [Draft Script] July 19, 1930 101 pp.

The story of an older woman who runs a cheap waterfront boarding house. Min has a live in boyfriend and raises a girl who was left with her as a child when her mother abandoned her. So rich was the script by Marion Jackson and Frances Marion and so brilliantly played by Marie Dressler, that Dressler was presented with the Academy Award for best actress.

Marion, Frances (1888-1973)
Prolific pioneer screenwriter Frances Marion, at one time the most powerful and highest paid scenarist in silent film, successfully transitioned into the talkies and would eventually come to write over 325 scripts “covering each imaginable genre,” culminating with a career high by being the first woman to win an Academy Award for writing “The Big House” (‘29) (Francke pp. 22, 30; B p. 9-11). Moving to Los Angeles from San Francisco in 1915, Marion’s early career was varied. Beginning as a script girl, then title writer, part time actress and on to screenwriter, producer and director of six films, Marion went on to serve as Vice President of the Screen Writers Guild—the only female member of the board (Mc pp. 22, 27; B. p. 11). Singled out for being beautiful by the Hollywood press, Marion was a tireless promoter and mentor to women in Hollywood and cultivated creative collaborations with popular actresses like Mary Pickford and Greta Garbo, for whom she adapted ANNA CHRISTIE (’30) Marion believed this close social networking contributed to the entrenchment of women in the industry for nearly two decades (Francke p. 22, 27; B p. 9). Marion also forged successful relations across the gender divide, becoming a favorite of producer Irving Thalberg and creating a creative production team with writer Marion Jackson, producer Harry Brown, and cameraman Ross Fisher in what in the early 1920s “epitomize[d] the latest wave of creative talent drawn to the booming industry.” Marion also wrote in collaboration with Marion Jackson and Fred Thomson under the pseudonym Frank M. Clifton.(B p. 9, 150, 168). Some notable film contributions include BRINGING UP FATHER (’28), THE CHAMP (’31)(her second Academy Award), PEG O’ MY HEART (’33), DINNER AT 8 (’33), CAMILLE (’36), THE GOOD EARTH (’37) and GREEN HELL (’40).

MIN AND BILL. (Orig. DARK STAR). By Lorna Moon. Scenario and Dialogue by Frances Marion and Marion Jackson [Draft Script] July 22, 1930 110 pp.

Jackson, Marion (1879-1962)
Pioneering screenwriter, Jackson is best known for her collaboration with writer Frances Marion, producer Harry Brown, and cameraman Ross Fisher where they shot westerns for Monogram Studios and in nearby Griffith Park. Jackson also wrote in collaboration with Frances Marion and Fred Thomson under the pseudonym Frank M. Clifton (B p. 150, 168).

OH FOR A MAN. Dialogue by Philip Klein and Lynn Starling Original Story by Mary T. Watkins Screen Continuity by Helen Barnhart and Peggy Lent SCREEN CONTINUITY October 29, 1930 92 pp.

PRINCESS AND THE PLUMBER, THE. Screenplay and Dialogue by Howard J. Green [Story: Alice Duer Miller] Second Revised Continuity August 26, 1930 149 pp.

Miller, Alice Duer (1874-1942)
Often confused with her contemporary, Alice D. G. Miller, Alice Duer Miller is most known as a novelist and for the poem “The White Cliffs of Dover” which was adapted into a screenplay by Claudette West. (Mc p. 60)

PRINCESS AND THE PLUMBER, THE. Screenplay and Dialogue by Howard J. Green [Story: Alice Duer Miller] SCREEN CONTINUITY November 17, 1930 87 pp.

SARAH AND SON. Censorship Dialogue Script February 3, 1930 Screenplay by Zoe Akins From the Novel by Timothy Shea About 70 pp.

Akins, Zoe (1886-1958)
Pioneering screenwriter Zoe Akins, began as a playwright and short story writer in New York City. Winner of the Pulitzer Prize for her stage adaptation of Edith Wharton’s “The Old Maid,” Akins found herself in Hollywood in 1929 after her stage hit “Declassé” was lensed. A highly paid and powerful player, Akins was concerned with creating “strong and interesting roles.” Akins greatest strength as an artist was her close connection to “specific actresses at times” like Greta Garbo in CAMILLE (’36), and with women in mind. Covering nearly three decades, some Akins memorable films are WORKING GIRLS (’31), MORNING GLORY (’33), OUTCAST LADY (’34), THE TOY WIFE (’38), ZAZA (’39), THE OLD MAID (’39) and DESIRE ME (’47). She wrote strong roles for the great film actresses Ruth Chatterton, Katharine Hepburn, Constance Bennett, Greta Garbo, Luise Rainer, Claudette Colbert, Bette Davis and Greer Garson.

SECRET SIX, THE. Scenario and Dialogue by Frances Marion Second Temporary Complete [Script] Nov. 7, 1930 144 pp.

A prime example of a woman writer crafting a brilliant script in the crime drama genre. The story was about “bootlegging” criminals during the years of prohibition.

VIRTUOUS SIN. (Orig. THE GENERAL) By Lajos Zilahy Adaptation and Dialogue By Martin Brown Scenario by Louise Long Fourth Yellow Script July 1, 1930 About 80 pp.

1931

AFTER TOMORROW. Screen Adaptation & Dialogue by: Sonya Levien Final Shooting Script 12/3/31 102 pp.

Levien, Sonya (1888-1960)
Pioneering screenwriter, Russian emigré Levien began her career in the silent era and successfully transitioned to sound. Levien, herself, attributes this to her early training and to the belief that the image on the screen is essential to telling the story (Mc p. 63; Francke pp. 30-32). In an interview, Levien asserted that women early in the industry were often pitted against each other and considered a novelty, but by the time the industry picks up after 1929 women found they had to compete on an equal footing with male screenwriters. Levien was definitely brought in, however, to present the feminine angle, which one film scholar considers to be “intelligent, independent, noble.” (Francke pp. 32; Mc p. 64) After joining the Screen Writers Guild in the 1930s, Levien and Frances Marion found themselves at odds with the issue of unionization and the inherent communist overtones. Regardless of political and sociological takes, Levien was certainly a productive writer with more than 70 scripts to her credit; writing as often as five films a year, including the memorable THE HUNCHBACK OF NOTRE DAME (’39), STATE FAIR (1933,1945 and 1962), THE MERRY WIDOW (’52), QUO VADIS (‘51) and OKLAHOMA! (’55) . (B p. 332; Francke p. 156) She was nominated for an Academy Award for her original 1933 script for STATE FAIR and won the Oscar for the 1955 film INTERUPTED MELODY. She wrote the 1933 Oscar Best Picture CALVACADE. She wrote strong roles for some of Hollywood’s greatest actresses including: Janet Gaynor, Shirley Temple, Loretta Young, Alice Faye, Claudette Colbert, Judy Garland, Lana Turner, Deanna Durbin, Greer Garson and Kim Novak.


BELOVED BACHELOR, THE. Adaptation Agnes Brand Leahy and Raymond Griffith SECOND SCRIPT Aug. 11, 1931 About 90 pp.

DELICIOUS. Original Story by Guy Bolton Screen Adaptation by Guy Bolton and Sonya Levien FINAL SHOOTING SCRIPT 1-16-31 98 pp.

DELICIOUS. Original Story by Guy Bolton Screen Adaptation by Guy Bolton and Sonya Levien FINAL SHOOTING SCRIPT 8-22-31 104 pp.

FALSE MADONNA, THE. (Orig. THE HEART IS YOUNG and STRANGERS IN LOVE] From the story by May Edginton Screenplay By Arthur Kober and Ray Harris FIRST SCRIPT Sept. 17, 1931 About 80 pp.

GIRL HABIT, THE. Screenplay By Owen Davis – Gertrude Purcell CENSORSHIP DIALOGUE SCRIPT June 22nd, 1931 About 50 pp.

Purcell, Gertrude (1895-1963)
Pioneering and prolific screenwriter Gertrude Purcell wrote many memorable films in the 1930s and 40s such as FOLLOW THE LEADER (’30), PALOOKA (’34), SERVICE DE LUXE (’38), and WINTER WONDERLAND (’47). (Francke, p. 159) She work on some of the primary films in the careers of Hollywood’s great star actresses, including Carole Lombard for LOVE BEFORE BREAKFAST (’36), Barbara Stanwyck for STELLA DALLAS (’37) and Marlene Dietrich for DESTRY RIDES AGAIN (’39).

HIS WOMAN. (Orig. SAL OF SINGAPORE/THE SENTAMENTALISTS) Adaptation by Melville Baker and Adelaide Heilbron FINAL WHITE SCRIPT August 12, 1931 About 100 pp.

HONOR AMONG LOVERS. [Story and Screenplay by Austin Parker Writer: Gertrude Purcell CENSORSHIP DIALOGUE SCRIPT February 16, 1931 About 60 pp.

HUSBAND’S HOLIDAY. Screenplay by Ernest Pascal and Viola Brothers Shore SECOND WHITE SCRIPT September 12, 1931 About 70 pp.

HUSBAND’S HOLIDAY. Screenplay by Ernest Pascal and Viola Brothers Shore RELEASE DIALOGUE SCRIPT December 5, 1931 About 40 pp.

ONCE A LADY. Screenplay by Zoe Akins SECOND SCRIPT August 7, 1931 About 90 pp.

SECRET CALL, THE. Adaptation and Dialogue by Arthur Kober Scenario by Eve Unsell SECOND YELLOW SCRIPT April 24, 1931 About 90 pp.

Unsell, Eve (1888-1937)
The early film press took great pains to describe the homely and passive qualities of this early sound screenwriter, who wrote three scripts that were released in 1931: THE SECRET CALL, UNFAITHFUL, and UP POPS THE DEVIL (Francke p. 22, 163). Unsell started her career very early, prolifically writing scenario’s and adaptations starting in 1914 in all genres.

SECRET SIX, THE. Scenario and Dialogue by Frances Marion Dialogue Cutting Continuity April 3, 1931 About 80 pp.

SHE WANTED A MILLIONAIRE. Screenplay by Sonya Levien Story by Wm. Anthony McGuire [CONTINUITY & DIALOGUE] 7-2-31 103 pp.

SHE-WOLF, THE. (Orig. MOTHER’S MILLIONS) Adaptation & Screenplay: Winifred Dunn CONTINUITY & SUBTITLES (Silent Version) 1931 About 80 pp.

SMILIN’ THROUGH. Play by Allan Langdon Martin Adaptation and Continuity by Frances Marion From Claudine West [Writer: Ernest Vajda, Claudine West Dialogue: Donald Ogden Stewart from the Play by Jane Cowl, Jane Murfin] August 1st 1931 154 pp.

Murfin, Jane (19892-1955)
Murfin began her career on Broadway writing “The Right to Lie” which was eventually adapted for the screen in 1919. In fact many of her stage plays were adapted during the silent and early sound period. In New York Murfin began a lifelong friendship with Frances Marion. With over 60 films to her credit, Murfin excelled on the production side, and by 1934 was appointed the first female supervisor of RKO. Some of the many titles she scripted during her most productive period (1929-1944) include: STREET GIRL (’29), TOO MANY CROOKS (’31), SPITFIRE (’34), PRIDE AND PREJUDICE (’40) and DRAGON SEED (’44). (B p. 126, 300; Mc p. 147, 148; Francke p. 158). She was nominated for an Academy Award for her work on WHAT PRICE HOLLYWOOD (’32) (along with Adela Rogers St. Johns) and wrote with Anita Loos the classic (based on Claire Boothe Luce) THE WOMEN in 1939.

WICKED. Dialogue & Continuity by: Kenyon Nicholson & Kathryn Scola FINAL SHOOTING SCRIPT 5-29-31 106 pp.

Scola, Kathryn (1891-1982)
Writing for nearly two decades in the early part of the 20th century, some of Scola’s most memorable works are THE LADY WHO DARED (’31), IT HAD TO HAPPEN (’36), LADY FROM CHEYENNE (’41) and NIGHT UNTO NIGHT (’49). (Francke, p. 161). She also wrote the screenplay based on Dashiell Hammett for the first screen version of THE GLASS KEY (’35). She wrote strong roles for Barbara Stanwyck (BABY FACE –‘32), Ruth Chatterton (FEMALE- ‘33) and Joan Fontaine (THE CONSTANT NYMPH- ‘43).

WORKING GIRLS. Screenplay by Zoe Akins From the Play “Blind Mice” by Vera Caspary and Winifred Lenihan RELEASE DIALOGUE SCRIPT November 27, 1931 About 50 pp.

Caspary, Vera (1899-1987)
Playwright and author of the novel Laura, Vera Caspary was one of many talented New York émigrés finding themselves in Hollywood in the 1930s. Some of her most notable works include I’LL LOVE YOU ALWAYS (’35), LADY FROM LOUISIANA (’41), and THREE HUSBANDS (’50). (Francke, pp. 30, 140) She won the Writers Guild of America award for best written American comedy in 1950 for A LETTER TO THREE WIVES (’49).

1932

BACK STREET. CONTINUITY AND DIALOGUE. Picture #321-1, Director-Stahl. Screenplay-Gladys Lehman, from Fannie Hurst novel. No date. About 80 pp.

EVENINGS FOR SALE. Screenplay by S.K. Lauren and Agnes Brand Leahy RELEASE DIALOGUE SCRIPT November 4, 1932 About 60 pp.

Leahy, Agnes Brand (1893-1934)
Writing between 1925 and 1933, some of Leahy’s works during the period are ONLY THE BRAVE (’30), THE BELOVED BACHELOR (’31), HELL AND HIGH WATER and THE LONE COWBOY (’33). (Francke, p. 156)

HATTER’S CASTLE. By Zoe Akins REVISED TREATMENT April 19, 1932 About 80 pp.

HOT SATURDAY. Screenplay by Josephine Lovett and Joseph Moncure March FIRST YELLOW SCRIPT July 8, 1932 About 100 pp.

Prime example of a pre production code film.

HOT SATURDAY. Screenplay by Seton I. Miller Adapted by Josephine Lovett and Joseph Moncure March CENSORSHIP DIALOGUE SCRIPT October 7, 1932 About 60 pp.

IMPATIENT MAIDEN, THE. Screenplay: Richard Schayer, Winifred Dunn Added Dialogue: James Mulhauser CONTINUITY & DIALOGUE 1932 About 70 pp.

MADAME BUTTERFLY. From the Book by David Luther Long Screenplay by Josephine Lovett and Joseph Moncure March FIRST SCRIPT October 5, 1932 Corrected: October 10, 1932 About 120 pp.

MISLEADING LADY, THE. Screenplay by Adelaide Heilbron, Caroline Francke Based upon the play be Charles W. Goddard and Paul Dickey RELEASE DIALOGUE SCRIPT April 4th, 1932 About 70 pp.

NIGHT AFTER NIGHT. Screenplay by Vincent Lawrence Continuity by Kathryn Scola From the story by Louis Bromfield RELEASE DIALOGUE SCRIPT October 5, 1932 About 50 pp.

NIGHT OF JUNE 13, THE . By Agnes Brand Leahy, Brian Marlowe and William Slavens McNutt WHITE SCRIPT July 23, 1932 About 100 pp.

SMILIN’ THROUGH. From Edward Childs Carpenter Play by Allan Langdon Martin Adaptation by Ernest Vajda Continuity by Claudine West [Dialogue: Donald Ogden Stewart from the Play by Jane Cowl, Jane Murfin] [Draft Script] April 9, 1932 138 pp.

SMILIN’ THROUGH. By Allan Langdon Martin Dialogue Continuity from Claudine West [Writer: Ernest Vajda, Dialogue: Donald Ogden Stewart from the Play by Jane Cowl, Jane Murfin] April 26, 1932 139 pp.

SMILIN’ THROUGH. By Allan Langdon Martin [Writer: Ernest Vajda, Claudine West Dialogue: Donald Ogden Stewart from the Play by Jane Cowl, Jane Murfin] [Shooting Script] May 31, 1932 172 pp.

WISER SEX, THE. Screenplay by: Harry Hervey, Caroline Francke Based upon a play by Clyde Fitch RELEASE DIALOGUE SCRIPT March 7th, 1932 About 70 pp.

AMATEUR DADDY. Screenplay and Dialogue By: Doris Malloy and Frank Dolan Final Shooting Script 1-20-32 100 pp.

1933

CHRYSALIS by Rose Albert Porter Screenplay By Sidney Buchman and Thomas Mitchell FINAL SCRIPT October 6, 1933 [with revisions on blue paper dated 10-6-33, not bound in] About 100 pp.

CRIME OF THE CENTURY, THE. Screenplay by Florence Ryerson and Brian Marlow CENSORSHIP DIALOGUE SCRIPT January 20, 1933 About 70 pp.

Ryerson, Florence (1892-1965)
Writing for nearly a decade, some of pioneering screenwriter Florence Ryerson important works include POINTED HILLS (’29), CALL OF THE WEST (’30), THE CASINO MURDER CASE (’35), TOUGH GUY (’36), THE WIZARD OF OZ (’39), and HENRY GOES ARIZONA (’40). (Francke, p. 161)

HELL AND HIGH WATER. Screenplay Written and Directed by Grover Jones and William Slavens McNutt Adaptation by Agnes Brand Leahy RELEASE DIALOGUE SCRIPT October 16, 1933 About 50 pp.

HOUSE OF ROTHSCHILD, THE. (Orig. THE GREAT ROTHSCHILDS Screenplay by Nunnally Johnson and Maude T. Howell [DRAFT SCRIPT November 8, 1933 126 pp.

HOUSE OF ROTHSCHILD, THE. [Screenplay by Nunnally Johnson Contributing writers: George Arliss, Maude T. Howell, Sam Mintz FINAL November 25, 1933 115 pp.

I’M NO ANGEL. By Mae West Based on a Suggestion by Lowell Brentano Continuity by Harlan Thompson FIRST SCRIPT June 19, 1933 About 80 pp.

A prime example of a pre-code script and written by the immortal Mae West.

West, Mae (1893-1980)
With I’M NO ANGEL, cinematic sex icon and burlesque comedienne Mae West bursts onto the scene in this screenwriting and screen performance premiere. Hitting her stride between 1933 and 1940, West saw great success with GO WEST YOUNG MAN and MY LITTLE CHICKADEE. Tantalizing audiences with her bawdy humor and forever dogged by the Breen Office, West nonetheless saved Paramount from financial disaster with I’M NO ANGEL and SHE DONE HIM WRONG In the mid 1970s, West writes the story to, and stars in, SEXTETTE. (Francke p. 38, 164) Mae West as a writer and as the character she created for stage and screen taught audiences to laugh at, and accept sexuality. Though her stories were often set in the corset bound Victorian age, she did more than any other writer/performer to break down the moral and psychological rigidity of the time.

I’M NO ANGEL. Story, Screenplay and All Dialogue by Mae West With Suggestions by Lowell Brentano Continuity by Harlan Thompson RELEASE DIALOGUE SCRIPT September 29, 1933 About 70 pp.

LADY’S PROFESSION, A. Screenplay by Walter DeLeon and Malcolm Stuart Boylan From a Story by Nina Wilcox Putnam CENSORSHIP DIALOGUE SCRIPT February 9, 1933 About 70 pp.

LADY’S PROFESSION, A . Screenplay by Walter DeLeon and Malcolm Stuart Boylan From a Story by Nina Wilcox Putnam RELEASE DIALOGUE SCRIPT February 9, 1933 About 70 pp.

LUXURY LINER. Screenplay by Gene Markey and Kathryn Scola Based on a novel by Gina Laus RELEASE DIALOGUE SCRIPT January 23, 1933 About 60 pp.

PRIZE FIGHTER AND THE LADY. (Orig. BROADWAY RACKET) from Carey Wilson and John Lee Mahin [Story: Frances Marion] [Draft Script] May 25, 1933 114 pp.

A top notch script by Frances Marion, this time the theme is boxing.

PRIZE FIGHTER AND THE LADY. (Orig. BROADWAY RACKET) Story by Frances Marion Dialogue Continuity From: Malcolm Stuart Boylan and Harvey H. Gated July 12, 1933 132 pp.

RIPTIDE. Dialogue Continuity from: Edith Fitzgerald [Writer: Edmund Goulding Uncredited: Ben Hecht, Charles MacArthur] Dec. 28, 1933 152 pp.

SEARCH FOR BEAUTY. Screenplay by David Boehm and Maurine Watkins Continuity by Frank Butler and Claude Binyon Additional Dialogue by Sam Hellman FINAL SCRIPT October 28, 1933 About 80 pp.

SEARCH FOR BEAUTY. Story by David Boehm and Maurine Watkins Screenplay by Frank Butler and Claude Binyon Dialogue by Sam Hellman CENSORSHIP DIALOGUE SCRIPT December 30, 1933 About 80 pp.

SITTING PRETTY. Screenplay by Jack McGowan, S.J. Perelman, Lou Brislow Suggested by Nina Wilcox Putnam RELEASE DIALOGUE SCRIPT November 20, 1933 About 70 pp

TORCH SINGER. Screenplay by Lynn Starling and Lenore Coffee From the Short Story “Mike” by Grace Perkins FINAL SCRIPT July 10, 1933 About 90 pp.

Coffee, Lenore (1896-1984)
A contemporary of legendary writer Frances Marion, Lenore Coffee was one of a handful of pioneering women writers that transitioned from silent to sound successfully. A wit who “complained about not talking about scripts before the hired help,” part of Coffee’s success stemmed from the ability to rescue floundering scripts for which she would charge a $1000 fee per script. Like many of her contemporaries, Coffee’s greatest asset was her career attachment to two stars: Bette Davis and Joan Crawford. Coffee’s “keen insights” into the psychology of women, and in particular these two actresses, no doubt brought out the rich emotional variation for which she is renowned. Coffee’s early training allowed her the flexibility that would provide her the footing for a long career in the “modern age”. (B, p. 187; Francke, p. 30; Mc, p. 92, 96-97, 106). She wrote great roles for other star actresses including Ethel Barrymore, Claudette Colbert, Myrna Loy, Helen Hayes, Jean Harlow, Norma Shearer and Ida Lupino. She was nominated for a 1938 Academy Award with her script for FOUR DAUGHTERS.

TORCH SINGER. Screenplay by Lenore Coffee and Lynn Starling From the Story “Mike” by Grace Perkins RELEASE DIALOGUE SCRIPT 1933 About 60 pp.

COMING OUT PARTY. By Gladys Unger and Becky Gardiner Screenplay by Gladys Unger and Jesse Lasky, Jr. CORRECTED FINAL SHOOTING SCRIPT 11/2/33 130 pp.

Unger, Gladys (1885-1940)
Born in San Francisco, Gladys Unger found early success writing plays in London, “Edmund Kean” in 1902 being her first. With the rise of early cinema, Unger penned her first screenplays in 1926 with MUSIC IS MAGIC and THE MYSTERY OF EDWIN DROOD. Soon, she became a writer for the Famous Players – Lasky Company. Along with many of her contemporaries, like Frances Marion, “she started in the industry as [a] one page synopsis writer” and progressed into one of the most “well paid and desired members of the creative film community.” Somewhat of an eclectic personal life, Unger was a vocal advocate for women’s rights while married to a Persian prince. Some of her outstanding screenwriting contributions include WAYWARD (’32), GREAT EXPECTATIONS (’34), RENDEZVOUS AT MIDNIGHT (’35). (Mc, p. 24, 56; B, p. 109; Francke, p. 163). She wrote strong roles for Marion Davies, Greta Garbo, Kay Johnson, and in a great gender bending role for Katharine Hepburn in SYLVIA SCARLETT (’35).

HOLD ME TIGHT. (Orig. DEPARTMENT STORE). By Gertrude Rigdon Screenplay by Gladys Lehman FINAL SHOOTING SCRIPT 1/5/33 118 pp.

Lehman, Gladys (1892-1993)
With a sound screenwriting career spanning from 1929 to 1951, Gladys Lehman is considered to be emblematic of the “feminine angle” during the mid-thirties at Paramount, Some of her notable screenplays include THE FALL OF EVE (’29), THE CAT CREEPS (’30), DEATH TAKES A HOLIDAY (’34), BLONDIE BRINGS UP BABY (’39), THRILL OF A ROMANCE (’45) (Francke, p. 34, 156). Born in Oregon, she was a pioneer in moving west when the film industry took hold. She was nominated for an Academy Award for her original screenplay for TWO GIRLS AND A SAILOR (’44). Working at various studios, she wrote great roles for: Bette Davis, Irene Dunne, Carole Lombard, Shirley Temple, Deanna Durbin, Judy Garland, June Allyson, Hedy Lamarr and Lucille Ball.

MR. SKITCH. (Orig. THERE’S ALWAYS TOMORROW) Screenplay by Ralph Spence and Sonya Levien Based on “Green Dice” by Ann Cameron FINAL SHOOTING SCRIPT 8/26/33 121 pp.

PADDY THE NEXT BEST THING. Screenplay by Edwin Burke [Writer: Gertrude Page] Based on the play by: W. Gayer Mackay & Robert Ord FINAL SHOOTING SCRIPT 5/25/33 113 pp.

WARRIOR’S HUSBAND. Adaptation & Dialogue by Ralph Spence Continuity by Sonya Levien Stage Play by Julian Thompson REVISED FINAL SHOOTING SCRIPT 1/21/33 118 pp.

1934

AFFAIRS OF CELLINI, THE. [Orig. THE FIREBRAND] Screenplay by Bess Meredyth Final Draft 1/26/34 146 pp.

CHEATING CHEATERS. Screenplay: Gladys Unger – Allen Rivkin Continuity & Dialogue ca. 1934 About 100 pp.

COUNTESS OF MONTE CRISTO, THE. Screenplay: Karen De Wolf – Gene Lewis CONTINUITY & DIALOGUE ca. 1934 About 100 pp.

De Wolf , Karen (1909-1989)
With a career spanning three decades, De Wolf enters the catalog with THE COUNTESS OF MONTE CRISTO, one of three screenplays for 1934. Some of the notable screenplays in her considerable career are PUBLIC OPINION (’35), BLONDIE PLAYS CUPID (’36), NINE GIRLS (’44), THE ADVENTURES OF CASANOVA (’48), SILVER LODE (’54). (Francke, p. 149) She wrote the bulk of scripts for the Penny Singleton Columbia comic based series BLONDIE between 1939 and 1943.

DOUBLE DOOR. Screenplay by Gladys Lehman and Jack Cunningham RELEASE DIALOGUE SCRIPT April 25, 1934 About 60 pp.

ENTER MADAME. [Written by Gladys Lehman, Charles Brackett] [Stage Play by Gilda Varesi and Dolly Byrne] [Draft Continuity] July 13, 1934 About 80 pp.

ENTER MADAME. [Written by Gladys Lehman, Charles Brackett] Stage Play by Gilda Varesi and Dolly Byrne July 30, 1934 About 80 pp.

GIRL FROM MISSOURI, THE. (under original working title EADIE WAS A LADY) Anita Loos and John Emerson, Culver City: Metro-Goldwyn-Mayer, March 20, 1934. [shooting script] 121 pp.

An unspecified, but evidently close to production (shooting script) draft of this original screenplay by Loos and Emerson, denoted by stamps on the upper wrapper as an MGM File/Vault Copy. The upper wrapper notes in type the "Script okayed by
Mr. Hyman" (Bernard Hyman, the producer), and in pencil "Complete with all changes." The working title is amended to the release title on the upper wrapper in a slightly later hand. The 1934 film was directed by Jack Conway, and starred Jean Harlow, Lionel Barrymore and Franchot Tone. The released film has a running time of 75 minutes; the length of this draft (121 pages) suggests some of the material in this draft likely did not make it to the screen. This was one of the most controversial films during the period when the stringent Production Code, enforced by the Joseph Breen office came into effect. The script was completed and much of the film finished just prior to the enforcement. The film went into production under the title EADIE WAS A LADY, then was changed to BORN TO BE KISSED and with all the changes demanded, as a sort of joke 100 PER CENT PURE (which is the title used in the U. K.). After the day to day changes demanded on MGM and writer Anita Loos resulting in tremendous re-writes and re-shoots, the generic THE GIRL FROM MISSOURI was settled on. Loos who had crafted several of Jean Harlow’s vehicles had as before crafted an amoral character with a heart of gold for the talented Jean Harlow, a girl who would stop at nothing to get ahead. The risqué quality of that was greatly toned down and this highly rare script reflects some of what might have been and is a great study in screenplay writing and the affects of censorship.

LOOS, ANITA (1888-1981) Immensely popular writer and personality, most famous for the penning of her classic novel GENTLEMEN PREFER BLONDES. She started her screen writing career in 1912 for Biograph, basically the dawn of American film and for two years (1918-1920) was a film producer. She wrote her novel as her screen writer husband/ writing collaborator felt too competitive with her. When the book was such a hit, she was in extreme demand again for movies and wrote some of the 1930s greatest hit films, mostly for MGM. She wrote for the top MGM female stars, including Marion Davies, Myrna Loy, Jeanette MacDonald, Norma Shearer and very importantly for Jean Harlow. She even doctored the Mickey Rooney/Judy Garland musical BABES IN ARMS. Amongst her famous classic film titles are: RED-HEADED WOMAN(’32), HOLD YOUR MAN(’32), BLONDIE OF THE FOLLIES (’31), SAN FRANCISCO (’36), SARATOGA (’37), SUSAN AND GOD (’40), A TREE GROWS IN BROOKLYN (’45) and her brilliant adaptation of Claire Boothe Luce’s THE WOMEN in 1939. She wrote for the theatre and then several witty books on her observations of Hollywood.

GLAMOUR. Screenplay: Doris Anderson Continuity: Gladys Unger CONTINUITY & DIALOGUE ca. 1934 About 70 pp.

IMITATION OF LIFE. Screenplay: William Hurlbut [Contributing Writers: Finley Peter Dunne, Victor Heerman, Walter Ferris, Bianca Gilchrist, Sarah Y. Mason, Samuel Ornitz, Arthur Richman, Preston Sturges] CONTINUITY & DIALOGUE 1934 About 100 pp.

A highly important film, and one of the best remembered of the 1930’s. The story presented strong role models for women, particularly inspiring during the difficult years of the Depression. Two women become friends and combine their talents to build a business, in this instance within the food industry marketing their pancake mix and maple syrup recipe. What is historically significant is that this is the film which broke the social and racial barrier between black and white. It has perhaps one of the most outstanding performances by a black actress, Louise Beavers. She plays the role of a mother who has a light skinned daughter who attempts to pass for white in the white world. It was certainly to the credit of contributing writer Sarah Y. Mason that such strong and psychologically understanding roles were written for stars Louise Beavers, Claudette Colbert, and Fredi Washington.

Mason, Sarah Y. (1896-1980)
Pioneering Hollywood screenwriter Sarah Mason was the writing partner with Victor Heerman. Mason was born in Tucson, eventually moving to Hollywood in 1918 to work with the Douglas Fairbanks Company. Some of the film she penned in her considerable career are THE BROADWAY MELODY (’29), STELLA DALLAS (’37), GOLDEN BOY (’39) and MAGNIFICENT OBSESSION (’54). In 1934, she received the Academy Award for writing LITTLE WOMEN (’33). She wrote in many genres and was excellent at adaptations from classic novels and plays. She wrote strong roles for Barbara Stanwyck, Irene Dunne, Claudette Colbert and Katharine Hepburn.

KISS AND MAKE-UP. [Screenplay: Harlan Thompson and George Marion, Jr. Adaptation: Jane Hinton Story: Stephen Bekeffi (Istvan Bekeffy)] [Shooting Script] March 23, 1934 About 100 pp.

KISS AND MAKE-UP. [Screenplay: Harlan Thompson and George Marion, Jr. Adaptation: Jane Hinton Story: Stephen Bekeffi (Istvan Bekeffy)] [Shooting Script] March 30, 1934 About 100 pp.

MAN WHO RECLAIMED HIS HEAD, THE. Screenplay: Jean Bart – Samuel Ornitz From the play by Jean Bart CONTINUITY & DIALOGUE 1934 About 70 pp.

MELODY IN SPRING. Screenplay by Benn W. Levy Continuity by Jane Storm Based upon a Story by Frank Leon Smith RELEASE DIALOGUE SCRIPT March 21, 1934 About 60 pp.

MIGHTY BARNUM, THE. Screenplay by Gene Fowler and Bess Meredyth REVISED TEMP. Aug. 24 1934 172 pp.

Meredyth, Bess (1890-1969 )
Born Helen MacGlashan in Buffalo, N. Y. pioneering screenwriter Bess Meredyth came to Hollywood in 1912 where she began as an actress. Between 1912 and 1918 she wrote as well as directed. She penned the screenplay in collaboration with Wilfred Lucas, THE ROMANCE OF TARZAN (’18). Soon, she was “one of the highest paid and most sought after writers in a town where studios churned out a movie each week. In the early 1930s she was part of the MGM stable of women writers that included such luminaries as Dorothy Parker, Adela Rogers St. John, and Lillian Hellman. In 1947, she and husband Michael Curtiz, along with fellow screenwriter Frances Marion, started a production unit at Warner Bros. (Mc, p. 36; Francke, pp. 34-5, 158; B, p. 12, 357). Her high profile screen credits include those for: BEN-HUR (’25), THE SEA BEAST (’26), DON JUAN (’26), STRANGE INTERLUDE (’32), THE MARK OF ZORRO (’40). She was nominated for Academy Awards for A WOMAN OF AFFAIRS (‘28) and WONDER OF WOMEN (’29).

MIGHTY BARNUM, THE. Screenplay by Gene Fowler and Bess Meredyth REVISED FINAL Sept. 24 1934 180 pp.

PURSUIT OF HAPPINESS, THE. By Lawrence Legner & Armina Marshall (Langner) Synopsis of story 1934 1 pp.

PURSUIT OF HAPPINESS, THE. Screenplay by J.P. McEvoy and Virginia Van Upp Adaptation by Stephen Morehouse Avery and Jack Cunningham From the Play by Lawrence Langner and Armina Marshall [DRAFT SCRIPT] June 9, 1934 About 100 pp.

Van Upp, Virginia (1902-1970)
Screenwriter Virginia Van Upp, was “born into the industry,” working as a child actress and production roles before writing for Pathé and Paramount. Known for her tough attitude and ability to play with the “big boys”, Van Upp was admired for her “ability to survive in a man’s world without losing her femininity.” Van Upp wrote “snappy roles” for screen goddesses and comediennes, such as Carole Lombard and Rita Hayworth, with whom she would co-produce GILDA. Van Upp is also now credited with making additions to the screenplay to THE LADY FROM SHANGHAI. In the mid-1940s, Van Upp started producing for Columbia, eventually becoming an executive. Being one of the very few women producers at that time in Hollywood, Van Upp had the “power to influence the content and outcome of her films.” (Francke, p. 60-64, 65, 163; Mc 145)

PURSUIT OF HAPPINESS, THE. Screenplay by J.P. McEvoy and Virginia Van Upp Adaptation by Stephen Morehouse Avery and Jack Cunningham From the Play by Lawrence Langner and Armina Marshall RELEASE DIALOGUE SCRIPT September 13, 1934 About 50 pp.

PRIVATE WORLDS. By Gregory La Cava [Screenplay and Adaptation: Lynn Starling Additional Dialogue: Gladys Unger From the Novel PRIVATE WORLDS by Phyllis Bottome] [DRAFT SCRIPT] 12/28/34 About 117 pp.

LOVE TIME. (Orig. SERENADE) Screenplay by: William Conselman and Henry Johnson [Writers: Sally Sandlin, Lynn Starling Story: Richard Carroll] 6-18-34 107 pp.

STINGAREE. Screenplay by Becky Gardiner Story by E. W. Horning Additional Dialogue by Dwight Taylor [Adaptation by Lynn Riggs, Leonard Spiegelgass Contributors: Garrett Fort, Agnes Christine Johnston, Wells Root Draft Script] [ca. 1934] 140 pp.

Johnson, Agnes Christine (1896-1978)
Pioneering screenwriter, Agnes Christine Johnson was one of the first crop of scenario writers who “were as likely to write jungle films or swashbucklers as tales of female angst.” Typical of Johnson’s output are SHOW PEOPLE (’28), THE SHANNONS OF BROADWAY (’29), WHEN A MAN’S A MAN (’35), ALL WOMEN HAVE SECRETS (’40), LIFE BEGINS FOR ANDY HARDY (’41), BLACK BEAUTY (’46). (B, p. 199; Francke, p. 154)

YOU BELONG TO ME. Screenplay by Walter DeLeon Adaptation by Grover Jones and William Slavens McNutt From a Story by Elizabeth Alexander RELEASE DIALOGUE SCRIPT August 14, 1934 About 50 pp.

1935

BAD BOY. [Original Screen Story by Vina Delmar] FIRST DRAFT SCREENPLAY by Allen Rivkin July 7, 1935 119 pp.

BAD BOY. [Original Screen Story by Vina Delmar] FINAL DRAFT SCREENPLAY by Allen Rivkin July 8, 1935 [with revisions on blue paper dated through to 7-10-35] 116 pp.

EVERY SATURDAY NIGHT. From the Play by: Katharine Kavanaugh FINAL SHOOTING SCRIPT Screenplay by Edweard Eliscu December 9, 1935 111 pp. [First of the Jones Family series]

FIGHTING YOUTH. Screenplay: Henry Johnson, Florabel Muir, Hamilton MacFaddem CONTINUITY & DIALOGUE 1935 100 pp.

HIS NIGHT OUT. Screenplay: Doris Malloy, Harry Clork CONTINUITY & DIALOGUE 1935 About 80 pp.

KING SOLOMON OF BROADWAY. Story and Screenplay: Albert J. Cohen, Robert T. Shannon Dialogue: Harry Clork, Doris Malloy CONTINUITY & DIALOGUE 1935 About 110 pp.

MEN WITHOUT NAMES. [Screenplay by Howard J. Green and Kubec Glasmon. Story by Marguerite Roberts and Dale Van Every] FINAL SCRIPT April 27, 1935 About 80 pp.

Roberts, Marguerite (1905-1989)
Talented and prolific, Marguerite Roberts began her film career with the Fox Corporation in 1927. Beginning as a secretary to studio boss Winfield Sheehan, Roberts soon transitioned into a “reader in the script department” under Al Lewis. Only one of the few in the studios’ “A League who made her reputation with what could be typed men’s films.” Ranging from “melodramas to comedies to Westerns” Roberts held considerably sway until her political views and union affiliation eventually got her blacklisted. In 1951 after the House Un-American Acts Committee, where she refused to buckle under after MGM head Dory Schary demanded she name names. Her contract at MGM was scrapped and her credits removed from the film IVANHOE. By the 1960s, Roberts once again in ascendency, ironically was teamed with (whom scholar Lizzie Francke considers “the most famous reactionary”) John Wayne on TRUE GRIT. (Francke, p. 29-30, 75, 77-78, 80, 160; Mc, p. 151). Amongst her array of titles in various genres are: ESCAPE (’40), ZIEGFELD GIRL (’41)(along with Sonya Levien), HONKY TONK (’41), DRAGON SEED (’44), UNDERCURRENT (’46) and THE BRIBE (’49).

MEN WITHOUT NAMES. Screenplay by Marguerite Roberts and Kubec Glasmon Story by Dale Van Every RELEASE DIALOGUE SCRIPT June 21, 1935 About 50 pp.

MILLIONS IN THE AIR. By Sig Herzig and Jane Storm CENSORSHIP DIALOGUE SCRIPT November 21, 1935 About 60 pp.

PRIVATE WORLDS. Screenplay and Adaptation: Lynn Starling and Gregory La Cava Additional Dialogue: Gladys Unger From the Novel PRIVATE WORLDS by Phyllis Bottome RELEASE DIALOGUE SCRIPT March 3rd, 1935 About 60 pp.

REMEMBER LAST NIGHT. Screenplay: Harry Clork, Doris Malloy, Dan Totheroh From the novel “Hangover Murders’ by Adam Hobhouse CONTINUITY & DIALOGUE 1935 About 120 pp.

RENDEZVOUS AT MIDNIGHT. Screenplay: Gladys Unger, Ferdinand Reyher From the play “The Silver Fox” by Gaetano Sazio CONTINUITY & DIALOGUE 1935 About 80 pp.

THREE KIDS AND A QUEEN. Screenplay: Barry Travers – Samuel Ornitz From a story suggested by Harry H. Poppe – Chester Beecroft, Mary Marlind CONTINUITY & DIALOGUE 1935 About 90 pp.

TWO FOR TONIGHT. [Writers: Jane Storm, George Marion, Jr. Additional Dialogue: Harry Ruskin Based on the Play by J. O. Lief and Max Lief [CONTINUITY & DIALOGUE] June 6, 1935 About 70 pp.

UNDER TWO FLAGS. [Screenplay: W. P. Lipscomb, Walter Ferris Add’l. Dialogue: Allen Rivkin Contributing Writer: Bess Meredyth REVISED SHOOTING FINAL Dec. 28, 1935 [with revisions on blue and pink paper dated through to 2/6/36] 194 pp.

Epic film based on the novel by Ouida which starred Ronald Colman, Claudette Colbert and Rosalind Russell.

WITHOUT REGRET. [Writers: Doris Anderson, Charles Brackett Based on the Play “Interference” by Roland Pertwee, Harold Deaden [Continuity & Dialogue] June 24, 1935 About 110 pp.

HERE’S TO ROMANCE . Original Story by Ernest Pascal and Sonya Levien. Screenplay by Ernest Pascal and Arthur Richman Final Draft Continuity 5/23/35 100 pp.

MY MARRIAGE. (Orig. BUCCANEER). Original and Screenplay by: Frances Hyland REVISED FINAL SHOOTING SCRIPT 9/4/35 [with revisions on blue paper dated through to 10/24/35] 122 pp.

Hyland, Frances
Pioneer screenwriter who wrote over three decades, some of Frances Hyland’s outstanding screenplays include TWO MEN AND A MAID (’29), UNHOLY LOVE (’32), MONEY MEANS NOTHING (’34), MY MARRIAGE (’35), WHILE NEW YORK SLEEPS (’38), FREE, BLONDE AND 21 (40). (Francke, p. 154) Her career spanned between 1927 and 1947.

REDHEADS ON PARADE. Screenplay by Rian James and Don Hartman [Story: Jay Gorney, Gertrude Purcell] FINAL REVISED SHOOTING SCRIPT WITH CORRECTIONS 2/25/35 101 pp.

1936

AND SUDDEN DEATH. [Screenplay by Joseph Moncure March and Madeleine Ruthven CONTINUITY & DIALOGUE] March 30, 1936 About 80 pp.

AND SUDDEN DEATH. Screenplay by Joseph Moncure March and Madeleine Ruthven CENSORSHIP DIALOGUE SCRIPT May 26, 1936 About 70 pp.

EDUCATING FATHER. [Orig. ONCE EVERY YEAR]. Original Screenplay By: Katharine Kavanaugh & Edward T. Lowe FINAL SHOOTING SCRIPT March 27, 1936 [with revisions on blue paper dating through to 4/15/36] 100 pp.

GIRL ON THE FRONT PAGE, THE. Screenplay: Austin Parker, Albert R. Perkins, Alice D. G. Miller Original Story: Roy and Marjorie Chanslor CONTINUITY & DIALOGUE ca. 1936 About 90 pp.

GO WEST YOUNG MAN. [Screenplay by Mae West] [Continuity & Dialogue] June 25, 1936 About 100 pp.

Post-code script by Mae West in which she still got away with as much as was possible under the stringent rules.

GO WEST YOUNG MAN. [Screenplay by Mae West] [Continuity & Dialogue] [ca. 1936] About 100 pp.

HALF ANGEL. (Orig. LIGHTING STRIKES TWICE ) Story by Tennyson Jesse Screenplay by Bess Meredyth and Gene Fowler [Draft Script] January 25, 1936 141 pp.

HERE COMES TROUBLE. (Orig. THE BLACK GANG). Adaptation by John Bright and Robert Tasker Screenplay by Robert Ellis, Helen Logan and Barry Trivers FINAL SHOOTING SCRIPT December 6, 1936 [with revisions on blue paper dated 12/7/36] 119 pp. [with 18 pp. of inserts]

HOLLYWOOD BOULEVARD. [Written by Marguerite Roberts Story by Faith Thomas RELEASE DIALOGUE SCRIPT August 4, 1936 About 70 pp.

I MET HIM IN PARIS. [Writer:] Claude Binyon [Story: Helen Meinardi] [Draft Script] November 19, 1936 About 70 pp.

IT HAD TO HAPPEN. Screenplay by Howard Ellis Smith & Katherine Scola Story by Rupert Hughes CONTINUITY & DIALOGUE TAKEN FROM THE SCREEN February 5, 1936 137 pp.

LADY BE CAREFUL. Screenplay by Dorothy Parker, Alan Campbell and Harry Ruskin RELEASE DIALOGUE SCRIPT August 20, 1936 About 65 pp.

Parker, Dorothy (1893-1967)
An already established “literary doyenne” from New York City, Parker came to Hollywood in the 1930s to document the “economic upheaval and social revolution” during the height of the Great Depression and New Deal. Parker worked on screenplays in tandem with her husband Alan Campbell. McCreadie points out the ambivalence between Dorothy Parker’s public and personal sides, displaying “a cynical wit that deplored the mediocrity of Hollywood yet delighted in its material abundance.” Some notable film entries include HERE IS MY HEART (’34), A STAR IS BORN (’37 and ‘54), SABOTEUR (’42), and THE FAN (’49). (Francke, pp. 2, 30, 159; Mc, pp. 67, 154, 177). Parker worked for Alfred Hitchcock, adapted Lillian Hellman’s great play THE LITTLE FOXES for film, wrote on a variety of subjects, including alcoholism and fashioned screenplays for star actresses Carole Lombard, Jean Harlow, Janet Gaynor, Merle Oberon, Jeanette MacDonald, Joan Bennett, Bette Davis and Susan Hayward.

LAUGHING AT TROUBLE, Screenplay by Robert Ellis and Helen Logan From the Play by: Adelyn Bushnell FINAL SHOOTING SCRIPT August 18, 1936 [with revisions on blue paper dated through to 8/26/36] 105 pp.

LUCKIEST GIRL IN THE WORLD, THE. Screenplay Herbert Fields. Henry Myers From the Ladies Home Journal Story “Kitchen Privileges” by Anne Jordan CONTINUITY & DIALOGUE 1936 About 100 pp.

MOON’S OUR HOME, THE. By Isabel Dawn and Boyce DeGaw FINAL CONTINUITY [ca. 1936] [with revisions on multicolored paper dated to 1/10/36] 165 pp.

OFF TO THE RACES. (Orig. THE JONES FAMILY AT THE COUNTY FAIR: Parts I and II) [Writer: Robert Ellis, Helen Logan] Final Script November 4, 1936 [with revisions on blue paper dated 11/14/36] 124 pp.

REUNION. By Sam Hellman and Gladys Lehman FINAL August 25, 1936 [with revisions on blue paper dated through to 10/26/36] 156 pp. (with retakes and added scenes on blue paper, bound in, and dated 10/26/36 About 20 pp.)

ROSE BOWL . [Screenplay: Marguerite Roberts Story: Francis Wallace] August 14, 1936 About 100 pp.

SON COMES HOME. Screenplay by Sylvia Thalberg Based on a Story by Harry Hervey CENSORSHIP DIALOGUE SCRIPT July 31, 1936 About 80 pp.

Thalberg, Sylvia ( 1907-1988)
Sister of wunderkind producer Irving Thalberg, Sylvia Thalberg wrote screenplays for Paramount and MGM, most prominently between 1930 and 1936. Notable titles include MONTANA MOON (’30), THIS MODERN AGE (’31), NOW AND FOREVER (’34), and A SON COMES HOME (’36). (Francke, p. 34, 162)

TIME OUT FOR ROMANCE. Screenplay by Lou Breslow and John Patrick [Story: Eleanore Griffith, William Rankin Contributor: Sally Sandlin] Revised Final December 7, 1936 [with revisions on blue paper dating through to 12/29/36] 133 pp.
TOO MANY PARENTS. Screenplay by Virginia Van Upp and Doris Malloy CENSORSHIP DIALOGUE SCRIPT February 29, 1936 About 70 pp.

TOO MANY PARENTS. Screenplay by Virginia Van Upp and Doris Malloy RELEASE DIALOGUE SCRIPT March 11, 1936 About 70 pp.

YOURS FOR THE ASKING. [Screenplay by Eve Greene, Harlan Ware and Philip MacDonald Based on a Story by William R. Lipman and William H. Wright Shooting Script] April 18, 1936 [with revisions on blue paper dated through to 5-14-36] About 100 pp.

Greene, Eve (1906-1997)
When Irving Thalberg insisted that she take over writing duties from an ill Frances Marion who had stalled on TUGBOAT ANNIE (’33), Eve Greene found herself at the beginning of a screenwriting career spanning two decades with such fare as OPERATOR 13 (’34), YOURS FOR THE ASKING (’35), STRANGE AFFAIR (’44) and BORN TO KILL (’47). (B p. 282; Francke, p. 152)

YOURS FOR THE ASKING. Screenplay by Eve Greene, Harlan Ware and Philip MacDonald Based on a Story by William R. Lipman and William H. Wright CENSORSHIP DIALOGUE SCRIPT July 22, 1936 About 90 pp.

1937

AS GOOD AS MARRIED. Screenplay F. Hugh Herbert, Lynn Starling Continuity & Dialogue [ca. 1937] About 90 pp.

BORN RECKLESS. By Helen Logan, John Patrick and Robert Ellis, FINAL SHOOTING SCRIPT April 28, 1937 120 pp.

CITY GIRL. (orig. BLONDE MOLL) Screenplay by Frances Hyland, Robin Harris and Lester Ziffren Final Script October 6, 1937 [with revisions on blue paper dated through to 11/4/37] 122 pp.

HER HUSBAND LIES. Screenplay by Wallace Smith and Eve Greene Story by Oliver H. P. Garrett RELEASE DIALOGUE SCRIPT March 10, 1937 About 80 pp.

HOT WATER. (Orig. THE JONES FAMILY IN TOO MUCH LIMELIGHT) Screenplay by Robert Chapin and Karen De Wolf Final Script May 8, 1937 [with revisions on blue paper dated through to 5/18/37] 110 pp.

I MET HIM IN PARIS. [Writer: Claude Binyon Story: Helen Meinardi] Revised White Script January 15, 1937 About 80 pp.

I MET HIM IN PARIS. Screenplay by Claude Binyon Based on a Story byHelen Meinardi RELEASE DIALOGUE SCRIPT May 14, 1937 About 80 pp.

KING OF GAMBLERS. Screenplay by Doris Anderson Based on a Story by Tiffany Thayer RELEASE DIALOGUE SCRIPT April 17, 1937 About 100 pp.

LOVE ON A BUDGET. Screenplay by Robert Ellis and Helen Logan Final Script November 3, 1937 [with revisions on blue paper dated through to 11/5/37] 123 pp.

NIGHT CLUB SCANDAL. Screenplay by Lillie Hayward From a Play by Daniel N. Rubin RELEASE DIALOGUE SCRIPT October 21, 1937 About 90 pp.

NIGHT OF MYSTERY. Screenplay by Frank Partos and Gladys Unger Based on the Novel “The Green Murder Case” by S.S. Van Dine CENSORSHIP DIALOGUE SCRIPT April 29, 1937 About 90 pp.

ROMANCE IN THE DARK. (Orig. THE YELLOW NIGHTINGALE) [Writer: Anne Morrison Chapin, Frank Partos from the Play “The Yellow Nightingale” by Hermann Bahr Shooting Script] September 23, 1937 About 100 pp.

SHE MARRIED AN ARTIST. (Orig. I MARRIED AN ARTIST) [Writer: Delmer Daves, Gladys Lehman Story: Avery Strakosch REVISED FINAL DRAFT August 9, 1937 132 pp.

THIS WAY PLEASE. [Screenplay: Grant Garrett, Seena Owen, Howard J. Green Story: Maxwell Shane and William C. Thomas] [Draft Script] March 29, 1937 About 100 pp.

THRILL OF A LIFETIME. (Orig. SUMMER ROMANCE) [Screenplay by Seena Owen, Grant Garrett and Paul Gerard Smith Based on a Story by Seena Owen and Grant Garrett] [DRAFT SCRIPT] July 26, 1937 About 80 pp.

THRILL OF A LIFETIME. [Screenplay by Seena Owen, Grant Garrett and Paul Gerard Smith Based on a Story by Seena Owen and Grant Garrett] [DRAFT SCRIPT] August 3, 1937 About 80 pp.

THRILL OF A LIFETIME. Screenplay by Seena Owen, Grant Garrett and Paul Gerard Smith Based on a Story by Seena Owen and Grant Garrett CENSORSHIP DIALOGUE SCRIPT October 29, 1937 About 90 pp.

TURN OFF THE MOON. Screenplay by Marguerite Roberts, Harlan Ware and Paul Gerard Smith CENSORSHIP DIALOGUE SCRIPT April 16, 1937 About 80 pp.

WILD MONEY. Screenplay by Edward T. Lowe, Marguerite Roberts and Eddie Welch Based on a Story by Paul Gallico RELEASE DIALOGUE SCRIPT June 18, 1937 About 80 pp.

1938

COCOANUT GROVE. By Sy Bartlett, Olive Cooper [Continuity & Dialogue] January 5, 1938 About 140 pp.

Cooper, Olive (1892-1987)
One of a handful of women writers that churned out B-Western serials in the 30s and 40s, Olive Cooper transitioned well during the advent of commercial television with fare written for Republic Pictures in the 1950s. (Francke, p. 74, 149] From a real movie family, her mother was silent actress Georgia Woodthorpe, her sister was actress Georgia Cooper. Georgia married Landers Stevens which made Olive aunt to director/producer George Stevens and grea t aunt to producer/writer/director George Stevens Jr.


COWBOY AND THE LADY, THE. (under original title KISS IN THE SUN) Anita Loos and John Emerson, Jan. 19, 1938, 159 pp.

An unspecified, but quite early and interesting draft of this screenplay by
Loos and her troublesome husband -- by this point in their deteriorating
relationship, his name appeared as collaborator on a number of projects that
were chiefly her work. Although not noted on the draft, this is an
adaptation of a story by Leo McCarey and Frank R. Adams, and was ultimately
filmed under the title THE COWBOY AND THE LADY, and released in November
1938. However, it is very interesting to note that not only was the final
screenplay credited entirely to S.N. Behrman and Sonya Levien, but that an
unusually large number of other writers served, like Loos, as uncredited
contributing writers, including Gene Flower, Lillian Hellman, Dorothy
Parker, Alan Campbell, et al. Whether they composed independent drafts such
as the one in hand, or served as script doctors is not clear, but it is
evident that the Samuel Goldwyn Company had a tough time getting a script
together. The film, directed by H.C. Potter, starred Gary Cooper, Merle
Oberon and Walter Brennan

DANGER ON THE AIR. Screenplay: Betty Laidlaw, Robert Lively CONTINUITY & DIALOGUE 1938 About 110 pp.

DISBARRED. Screenplay by Lillie Hayward and Robert R. Presnell CENSORSHIP DIALOGUE SCRIPT October 31, 1938 About 60 pp.

DISBARRED. Screenplay by Lillie Hayward and Robert R. Presnell RELEASE DIALOGUE SCRIPT November 21, 1938 About 60 pp.

GIVE ME A SAILOR. Screenplay by Doris Anderson and Frank Butler CENSORSHIP DIALOGUE SCRIPT July 9, 1938 About 70 pp.

ISLAND IN THE SKY. By Frances Hyland and Albert Ray Temporary Script January 5, 1938 155 pp.

ISLAND IN THE SKY. By Frances Hyland and Albert Ray FINAL Script January 11, 1938 [with revisions on blue paper dated through to 1/29/38] 138 pp. [with 11 pp. retakes, bound in]

LETTER OF INTRODUCTION. Screenplay: Sheridan Gibney, Leonard Spiegelgass Based on an original story by Bernice Boone CONTINUITY & DIALOGUE 1938 About 110 pp.

MEET THE GIRLS. By Marguerite Roberts Revised Final May 28, 1938 [with revisions on blue paper dated through to 6/13/38] 130 pp.

PARDON OUR NERVE. (Orig. SAMSON AND THE LADIES) by Robert Ellis and Helen Logan [Story: Elizabeth Reinhardt, Hilda Stone] Final Script September 6, 1938 with revisions on blue paper dated through to 9/19/38] 139 pp.

Reinhardt, Elizabeth (1909-1954)
Primarily writing during the 1940s, Reinhardt’s first major screenplay was GOLD RUSH MAISIE (’40), followed by LAURA (’44), GIVE MY REGARDS TO BROADWAY (’48), and HIT PARADE OF 1951 (’50). (Francke, p. 160) She worked in the genres of comedy, film noir and musicals and was nominated for an Academy Award in best writing- screenplay for LAURA in 1944.

ROMANCE IN THE DARK. (Orig. THE YELLOW NIGHTINGALE) Screenplay by Frank Partos and Anne Morrison Chapin Based on the Play “The Yellow Nightingale” by Hermann Bahr Shooting Script] February 11, 1938 About 100 pp.

SAFETY IN NUMBERS. [Writers: Robert Chapin, Karen DeWolf, Joseph Hoffman Story: Zena George, Dorothy Mannery] Final Script June 9, 1938 [with revisions on blue paper dated through to 6/27/38] 123 pp.

SCANDAL STREET. Screenplay by Bertram Millhauser and Eddie Welch Based on a Story by Vera Caspary RELEASE DIALOGUE SCRIPT January 31, 1938 About 60 pp.

SERVICE DE LUXE . Screenplay by Leonard Spiegelgass, Gertrude Purcell, and Bruce Manning [Story: Vera Caspary, Bruce Manning] [Draft Script] August 12, 1938 [with revisions on blue paper dated through to 9/13/38] 141 pp.

SERVICE DE LUXE . Screenplay by Leonard Spiegelgass, Gertrude Purcell Original Story by Bruce Manning and Very Caspary CONTINUITY & DIALOGUE October 7, 1938 About 120 pp.

SHARPSHOOTERS. (Orig. CAMERA DAREDEVILS – NO. 1) Screenplay by Robert Ellis & Helen Logan Final Script July 6, 1938 [with revisions on blue paper dated through to 7/27/38] 125 pp.

SONS OF THE LEGION. Original Story and Screenplay by Lillie Hayward, Lewis Foster, and Robert F. McGowan CENSORSHIP DIALOGUE SCRIPT August 26, 1938 About 60 pp.

SONS OF THE LEGION. [Original Story and Screenplay by Lillie Hayward, Lewis Foster, and Robert F. McGowan] [Revised Script] June 22, 1938 About 100 pp.

SONS OF THE LEGION. [Original Story and Screenplay by Lillie Hayward, Lewis Foster, and Robert F. McGowan] [SHOOTING SCRIPT] June 28, 1938 About 100 pp.

SONS OF THE LEGION. Original Story and Screenplay by Lillie Hayward, Lewis Foster, and Robert F. McGowan RELEASE DIALOGUE SCRIPT September 1, 1938 About 60 pp.

SPEED TO BURN. (Orig. RACING BLOOD) Screenplay by Robert Ellis and Helen Logan Final Script February 22, 1938 153 pp.

STOLEN LIFE. Screenplay by Eve Greene and Frederick Jackson Based on a Story by Andrew L. Stone CENSORSHIP DIALOGUE SCRIPT March 19, 1938 About 80 pp.

TOY WIFE, THE. (Orig. MADEMOISELLE FROUFROU (THE STORY OF A TOY WIFE)) From: Zoe Akins [COMPLETE SCRIPT] 3/14/38 [with revisions on pink paper dated through to 4/7/38] 138 pp.

Translated from a play by Ludovic Halevy and Henri Meilhac, this was a large budget MGM production vehicle for two time Academy Award winner, Louise Rainer.

TRIP TO PARIS. (Orig. THE JONES FAMILY IN PARIS) by Robert Ellis and Helen Logan Final Script January 29, 1938 [with revisions on blue paper dated through to 2/3/38] 133 pp.

ZAZA. Screenplay by Zoe Akins From the Play by Pierre Berton and Charles Simon CENSORSHIP DIALOGUE SCRIPT December 21, 1938 About 70 pp.

Top film production directed by George Cukor and starring Claudette Colbert. Story about a sexy French music hall performer in the 1890’s ran into censorship problems.

ZAZA . Screenplay by Zoe Akins From the Play by Pierre Berton and Charles Simon RELEASE DIALOGUE SCRIPT December 29, 1938 About 70 pp.

1939

ALL WOMEN HAVE SECRETS. Screenplay by Agnes Christine Johnson Release Dialogue Script November 7, 1939 About 70 pp.

GREEN HELL. Original Story & Screenplay by Frances Marion December 20, 1939 About 120 pp.

LLANO KID, THE. Screenplay by Wanda Tuchock CENSORSHIP DIALOGUE SCRIPT October 18, 1939 About 70 pp.

Tuchock, Wanda (1898-1985)
Pioneering women screenwriter Wanda Tuchock with a film career spanning two decades including standouts such as HALLELUJAH (’29), BILLY THE KID (’30), LITTLE ORPHAN ANNIE (’32), THE LLANO KID (’39), and NOB HILL (’45). (Francke, p. 162) For director King Vidor she wrote scripts for some of the highlight films of his career including the legendary (and first) all-black film musical HALLELUJAH (’29), the grand western, BILLY THE KID (’30) , THE CHAMP (’32) (along with Frances Marion) and several films starring Marion Davies. She also worked on films for stars Greta Garbo, Joan Crawford and Katharine Hepburn.

SEVENTEEN. Screenplay by Agnes Christine Johnson and Stuart Palmer Based on the Story by Booth Tarkington And the Play by Stuart Walker, Hugh Stanislaus Stange, Stannard Mears RELEASE DIALOGUE SCRIPT September 21, 1939 About 80 pp.

STOLEN LIFE. Adapted by Margaret Kennedy from the Prize Novel by K. J. Benes Additional Dialogue: George Barraud RELEASE SCRIPT [dated 4/25/1939 in pencil in an unknown hand] About 70 pp.

STOP, LOOK, AND LOVE. Revised Screenplay by Harold Tarshis [Writer: Sada Cowan From the Play “The Family Upstairs” by Harry Delf Final Script April 26, 1939 [with revisions on blue paper dated through to 5/22/39] 121 pp.

TOO BUSY TO WORK. (Orig. THE JONES FAMILY IN THE LITTLE THEATRE) Screenplay by Stanley Rauh [Writers: Robert Ellis, Helen Logan] Final Script July 26, 1939 [with revisions on blue paper dated to 8/5/39] 141 pp.

UNMARRIED. (Orig. NIGHT SPOT HOSTESS) Screenplay by Lillie Hayward and Brian Marlow Based on a Story by Grover Jones and William Slavens McNutt CENSORSHIP DIALOGUE SCRIPT February 8, 1939 About 60 pp.

UNMARRIED. Screenplay by Lillie Hayward and Brian Marlow Based on a Story by Grover Jones and William Slavens McNutt RELEASE DIALOGUE SCRIPT February 22, 1939 About 60 pp.

WAY OF ALL FLESH, THE. [Screenplay by Lenore Coffee Story by Lajos Biro and Jules Furthman] REVISED WHITE SCRIPT November 11, 1939 [with revisions on blue paper dated 11-22-39] 114 pp.



1940

DANCING ON A DIME. Screenplay by Maurice Rapf, Anne Morrison Chapin and Allen Rivkin RELEASE DIALOGUE SCRIPT July 15, 1940 About 80 pp.

DRUMS OF THE DESERT. [Screenplay by Dorothy Davenport (Dorothy Reid) and George Wagner [Draft Script] [ca. 1940] 118 pp. [Includes ancillary documents: film reviews, corporate memos, invoices, sales manual pages, daily cast rosters, and shooting schedules; about 30 pp.]

Davenport, Dorothy (aka Dorothy Reid after 1928) ( 1895-1977)
Pioneering screenwriter Dorothy Davenport Reid began her film career as an actress, but had turned to writing, eventually scripting a “hard hitting silent about drug-abuse in 1923.” During the 20s and 30s, Davenport was encouraged to direct by the supportive writing environment. Notable scripts include ROAD TO RUIN (’34), PRISON BREAK (’38), and RHUBARB (’51). (B, p. 35; Francke, pp. 25, 159) Mrs. Wallace Reid wrote, directed and produced the legendary film HUMAN WRECKAGE in 1923 just after her husband, matinee idol Wallace Reid died from drugs supplied him by film makers to keep working after he was involved in a train accident. This was one of the biggest scandals of the 1920’s and her film warned against the dangers of addiction. Her moral tale THE ROAD TO RUIN which she wrote and directed in 1934 also warned against the dangers of addiction, promiscuity and abortion and was released just prior to the stringent Hays code. She was one of only a few women writer/directors/producers during the 1920s and 1930s in Hollywood.

HIRED WIFE . Screenplay: Richard Connell, Gladys Lehman CONTINUITY & DIALOGUE August 22, 1940 About 120 pp.

I’M NOBODY’S SWEETHEART NOW. Screenplay: Scott Darling, Erna Lazarus, Hal Block Original Story by Scott Darling, Erna Lazarus CONTINUITY & DIALOGUE July 12, 1940 About 110 pp.

LOVE, HONOR AND OH-BABY! Screenplay Clarence Upson Young Based on an original story by Elizabeth Troy CONTINUITY & DIALOGUE 1940 About 70 pp.

NIGHT AT EARL CARROLL’S, A. [Original Story and Screenplay by Lynn Starling] 2ND FINAL WHITE April 12, 1940 [with revisions on blue paper dated to 5/8/40] About 50 pp.

NIGHT AT EARL CARROLL’S, A. Original Story and Screenplay by Lynn Starling RELEASE DIALOGUE SCRIPT April 12, 1940 [with revisions on blue paper dated to 5/8/40] About 50 pp.

ONE NIGHT IN LISBON. [Writer Virginia Van Upp] SCRIPT DRAFT Dec. 20, 1940 146 pp.

SIDEWALKS OF LONDON. [Writers: Bartlett Cormack, Clemence Dane, Charles Laughton, Erich Pommer, Tim Whelan From the Story “St. Martin’s Lane” By Clemence Dane RELEASE DIALOGUE SCRIPT January 5, 1940 [American release of 1938 British film] About 100 pp.

VIRGINIA. Screenplay by Virginia Van Upp Based on a Story by Edward H. Griffith and Virginia Van Upp CENSORSHIP DIALOGUE SCRIPT December 24, 1940 About 100 pp.

1941

ALOMA OF THE SOUTH SEAS. Screenplay by Frank Butler, Seena Owen and Lillie Hayward RELEASE DIALOGUE SCRIPT August 19, 1941 About 70 pp.

BELIEVE MY HEART. Screenplay by Richard Connell and Gladys Lehman [Draft Script] May 13, 1941 About 102 pp. [File copy of a work-in-progress, includes synopsis of the story’s final section and discards; includes scene outline dating to 2-17-41]

FIGHTING BILL FARGO. Screenplay: Paul Franklin, Arthur V. Jones, Dorcas Cochran CONTINUITY & DIALOGUE October 23, 1941 About 70 pp.

I WANTED WINGS. Screenplay by Richard Maibaum, Lieut. Beirne Lay, Jr. and Sig Herzig Based on a Story by Eleanore Griffin and Frank Ward RELEASE DIALOGUE SCRIPT February 27, 1941 About 110 pp.

Aviation story by women writer. The film which introduced 1940s film icon Veronica Lake to audiences.

Eleanore Griffin (1904-1995)
Griffin won the Academy Award for best writing, original story for the classic 1938 film about the real life home for troubled boys, BOYS TOWN. Between 1937 and 1964 she wrote a host of scripts, both stories and screenplays, specializing in youth oriented stories for Mickey Rooney, Judy Garland and Margaret O’Brien. But she also wrote for the history based musical THE HARVEY GIRLS (’46), air dramas ONLY ANGELS HAVE WINGS (’39) and I WANTED WINGS (’41) and soapy melodramas IMITATION OF LIFE (’59) and BACK STREET (’61).


LADY FROM CHEYENNE, THE. [Screenplay by Warren Duff & Kathryn Scola Story by Jonathan Finn and Theresa Oaks] [Draft Script] [ca. 1941] 137 pp.

LADY FROM CHEYENNE, THE. Screenplay by Warren Duff & Kathryn Scola Story by Jonathan Finn and Theresa Oaks CONTINUITY & DIALOGUE March 18, 1941 About 120 pp.

MOON OVER HER SHOULDER. (Orig. DETOUR TO LOVE) by Walter Bullock [Story by Eve Golden, Helen Vreeland Smith] Final Script June 18, 1941 [with revisions on blue paper dating through to 7/22/41] 131 pp.

MOONLIGHT IN HAWAII. Screenplay: Morton Grant, James Gow, Erna Lazarus Original Story: Eve Green CONTINUITY & DIALOGUE July 9, 1941 About 80 pp. (Includes TRAILER July 18, 1941 About 10 pp.]

MRS. WIGGS OF THE CABBAGE PATCH. [by] Doris Anderson [DRAFT SCRIPT] December 12, 1941 About 70 pp.

ON THE SUNNY SIDE. [Adaptation and screen play by Lillie Hayward] FINAL Script. Oct. 8, 1941 [15 pages added scene and retakes at back dated 11/26/41] 114 pp.

ONE NIGHT IN LISBON. [Writer Virginia Van Upp] CENSORSHIP DIALOGUE SCRIPT April 19, 1941 About 100 pp.

ONE NIGHT IN LISBON. [Writer Virginia Van Upp] RELEASE DIALOGUE SCRIPT May 3, 1941 About 100 pp.


SING ANOTHER CHORUS. Screenplay by Brenda Weisberg and Marion Orth Original Story by Sam Robins March 15, 1941 106 pp.

THEY LIVED ALONE. Original Story and Screenplay by Sonya Levien [Draft Script] September 4, 1941 133 pp.

UNFINISHED BUSINESS. [Screenplay: Eugene Thackrey Orig. Story Gregory LaCava Contributing writer: Vicki Baum] [Draft Script] 4/10/41 117 pp.

Baum, Vicki (1888-1960)
Highly popular and prolific writer of novels, she also contributed to many a screenplay. Born in Vienna, her most popular novel and play MENSCHEN IM HOTEL became the Academy Award winning classic GRAND HOTEL (’32), which forever became the formula basis used to this day in which the stories of individual unrelated characters come together to tell a story within one setting. Often her stories were adapted to the screen, but she contributed to the screenplays of THE GREAT WALTZ (’38), UNFINISHED BUSINESS (’41) and BEHIND CITY LIGHTS (’45).

1942

HENRY ALDRICH, EDITOR. Original Screenplay by Muriel Roy Bolton and Val Burton RELEASE DIALOGUE SCRIPT May 29, 1942 About 60 pp.

Bolton, Muriel Roy (1908-1983)
A screenwriter in the 1940s, Bolton wrote some installments in the Henry Aldrich series. With MY NAME IS JULIA ROSS (‘45), she comes to exemplify a trend then in film “about women caught up in dubious relationships” in a “struggle to hold on to their sanity.” (Francke, p. 52, 147)

HENRY ALDRICH GETS GLAMOUR. Screenplay by Edwin Blum and Aleen Leslie Story by Aleen Leslie RELEASE DIALOGUE SCRIPT October 20, 1942 About 50 pp.

MRS. WIGGS OF THE CABBAGE PATCH. [by] Doris Anderson [DRAFT SCRIPT] January 13, 1942 93 pp.

MRS. WIGGS OF THE CABBAGE PATCH. Screenplay by Doris Anderson, William Slavens McNutt and Jane Storm Based on the novel by Alex Hegan Rice and the Play by Anne Crawford Flexner RELEASE CENSORSHIP SCRIPT May 25, 1942 About 70 pp.

RAIDERS OF SAN JOAQUIN. Story by Patricia Harper Screenplay by Elmer Clifton Revision by Morgan B. Cox Final Draft June 23, 1942 95 pp.

Harper, Patricia (unknown)
Writing westerns in the mid 1940’s, some of Harper’s films include PRAIRIE PALS (’42), THE DRIFTER (’44), and BORDER FEUD (’47). (Francke, p. 152) Harper wrote a string of action, adventure westerns for Republic Studios between 1942 and 1947, often writing both the story and screenplay.

RAIDERS OF SAN JOAQUIN. Story by Patricia Harper Screenplay by Elmer Clifton Revision by Morgan B. Cox Final Draft June 25, 1942 95 pp.

RANDOM HARVEST. From: Claudine West, George Froeschel, Arthur Wimperis [Draft Script] 2-12-42 [with revisions on pink paper dated through to 3/5/42] 176 pp.

Famous novel which became one of the iconic film romances of the 1940s. Nominated for many Academy Awards, including for screenplay.

Claudine West (1890-1943)
1930-1944: The Good Earth, Goodbye, Mr. Chips, Mrs. Miniver; pioneer writer. (F 164ƒ ) Mc 59 “came up through the ranks in the movie business.” Born in England, came to MGM’s research department in 1918, died working on The White Cliffs of Dover (’44).( Mc 59) A legendary writer who worked on many of the now classic MGM films of the 1930s and 1940s, including: PRIVATE LIVES (’31), SMILIN’ THROUGH (’31), BARRETTS OF WIMPOLE STREET (’34), MAYTIME (’37), MARIE ANTOINETTE (’38). She wrote great screen characters for some of the top MGM star actresses including Norma Shearer, Jeanette MacDonald, Helen Hayes, Louise Rainer and Greer Garson. She was nominated for an Academy Award for 1942 for RANDOM HARVEST, and won that very year for the much honored film MRS. MINIVER.

SILVER BULLET, THE. [Screenplay: Elizabeth Beecher Story: Oliver Drake Shooting Script] March 5, 1942 [with revisions on blue paper dated to 4/28/42] 100 pp.


Beecher, Elizabeth (1898-1973)
Writer of B-movie westerns, some of screenwriter Elizabeth Beecher’s work includes UNDERGROUND RUSTLERS (’41), HAUNTED RANCH (’43) and ROUGH RIDIN’ JUSTICE (’45). (Francke, p. 74, 146) Beecher was one of a few women writers of this time who wrote exclusively for the B westerns which were turned out as fast as television episodes at Universal, Monogram and Columbia Studios.

WHEN JOHNNY COMES MARCHING HOME. Original Screenplay: Oscar Brodney, Dorothy Bennett DIALOGUE CONTINUITY November 16, 1942 About 100 pp.

Bennett, Dorothy (Unknown)
Along with WHEN JOHNNIE COMES MARCHING HOME AGAIN, some of mid-1940s screenwriter Dorothy Bennett’s films include FOLLOW THE BAND (’43), SHOW BUSINESS (’44), and PATRICK THE GREAT (’45). (Francke, p. 146) Bennett wrote screenplays between 1942 and 1947.

1943

AMAZING MRS. HOLLIDAY, THE. From an Original Story by Sonya Levien Dialogue Continuity January 16, 1943 About 120 pp.

FOLLOW THE BAND. Screenplay: Warren Wilson, Dorothy Bennett CONTINUITY & DIALOGUE April 1, 1943 About 70 pp.

IN OLD OKLAHOMA. Screenplay: Ethel Hill – Eleanor Griffin Original Story and Adaptation: Thomson Burtis CUTTING CONTINUITY 1943 103 pp.

Hill, Ethel (1898-1954)
Spanning two decades, Ethel Hill penned numerous screenplays in a variety of genres including SCARLETT BRAND (’32), FURY OF THE JUNGLE (’34), IT HAPPENNED IN HOLLYWOOD (’37), and THE LITTLE PRINCESS (’39). (Francke, p. 153). Her writing career began at age 16 with a story for the film THE LEVEL (’14). She started writing prolifically in 1925. She raised thoroughbred horses on her Southern California ranch. When, in 1946 one of her horses won the $100,000 Santa Anita handicap, she abruptly put an end to her writing career.

LADY IN THE DARK. RELEASE DIALOGUE SCRIPT Screenplay by Frances Goodrich and Albert Hackett November 10, 1943 About 70 pp.

Based on the Moss Hart Broadway play with songs by Kurt Weill, this was an early film which explored an emerging interest of the time, psychoanalysis.


Goodrich, Frances (1890-1984)
One of many husband and wife pairs in Hollywood, Goodrich along with her mate Albert Hackett migrated from New York City to pen such fare as The Thin Man Series (’34, ’36, and ’39) and numerous other hits like IT’S A WONDERFUL LIFE (’46), THE VIRGINIAN (’46), EASTER PARADE (’48), FATHER OF THE BRIDE (’50), FATHER’S LITTLE DIVIDEND (’51) and THE DIARY OF ANNE FRANK (’59). (Francke, 30, 66, 151-152, Mc, p. 165). She was four times nominated for an Academy Award. She wrote some of the finest films in the genres of comedy and musicals, tailoring scripts to the talents of William Powell, Myrna Loy, Jeanette MacDonald, Nelson Eddy, Ginger Rogers, Judy Garland, James Stewart, Spencer Tracy and Elizabeth Taylor.

MISTER BIG. (Orig. OH, SAY CAN YOU SWING (SCHOOL FOR JIVE) [Screenplay: Jack Pollexfen, Dorothy Bennett Original Story: Virginia Rooks] [SHOOTING SCRIPT] February 12, 1943 [with revisions on blue paper dated to 2/20/43] 99 pp.

MISTER BIG. Screenplay: Jack Pollexfen, Dorothy Bennett Original Story: Virginia Rooks CONTINUITY & DIALOGUE May 15, 1943 About 80 pp.

ONE DESTINY. Screenplay by Tess Slesinger and Frank Davis FINAL SCRIPT, April 22, 1943 132 pp.

PATRICK THE GREAT. [Screenplay by Bertram Millhauser and Dorothy Bennett From an Original Story by Jane Hall, Frederick Koehner, Ralph Block] REVISED DRAFT SCRIPT] October 6, 1943 [with revisions on blue paper dated through to 10/18/43] About 129 pp.

SALUTE FOR THREE. Screenplay by Doris Anderson, Curtis Kenyon and Hugh Wedlock, Jr. and Howard Snyder Story by Art Arthur RELEASE DIALOGUE SCRIPT February 16, 1943 About 50 pp.

SULLIVANS, THE. (aka THE FIGHTING SULLIVANS) Screenplay by Mary C. McCall, Jr. Original Story by Edward Doherty Shooting Final August 27, 1943 [with revisions on blue paper dated through to 10/21/43] 150 pp. (Additional scenes included, not bound in – about 5 pp.)

McCall Jr., Mary (1904-1986)
One of Hollywood’s most flamboyant characters in Hollywood, McCall Jr. started her writing career writing about directors for a film magazine called Cinema Art. Next, she wrote short stories and eventually turned to screen writing with DESIREABLE (’34). She moved from New York City to Hollywood in order to work as a “corpse rouger”, or a person adept at “reviving dead scripts.” McCall Jr. then teamed up with Frances Marion when she joined the Screen Writers Guild as an organizer. In 1942, McCall Jr. was voted the first woman president of the SWG, a post she held for ten years. Some notable screenplays include BABBITT (’34), THE SULLIVANS (’44), and THUNDERBIRDS (’52). (Mc., p. 108, 110; Francke, p. 41, 158)



1944

I’M FROM ARKANSAS. Original Story by Marcy Kaluber Screenplay by Marcy Kaluber and Joseph Carole FINAL VERSION July 12, 1944 79 pp. (Includes Shooting Schedule, bound in, about 10 pp.)

NIGHT CLUB GIRL. (Orig. NIGHT LIFE) Screenplay by Henry Blankfort & Dick Irving Hyland Original Story by Adele Comandini [Draft Script] July 6, 1944 [with revisions on blue paper dated through to 7/11/44] 90 pp.

Comandini, Adele (1898-1987)
Pioneering screenwriter Comandini’s film career spans two decades beginning with THE GIRL FROM WOOLWOORTH’S (’29), and following up with THE ROAD TO RENO (’40), GOOD LUCK MR. YATES (’43), and CHRISTMAS IN CONNECTICUT (’45). (Francke, p. 148) She was nominated for an Academy Award for Deanna Durbin’s debut film in 1936, THREE SMART GIRLS.

PATRICK THE GREAT. Screenplay by Bertram Millhauser and Dorothy Bennett From an Original Story by Jane Hall, Frederick Koehner, Ralph Block CONTINUITY & DIALOGUE January 12, 1944 About 90 pp.

RECKLESS AGE . Screenplay by Gertrude Purcell, Henry Blankfort Original Story by Al Martin CONTINUITY & DIALOGUE July 25, 1944 About 90 pp.

SONG OF THE SARONG. Screenplay by Elaine Ryan Original Story by Gene Lewis [Draft Script] October 5, 1944 94 pp.

SONG OF THE SARONG. Screenplay by Elaine Ryan & Gene Lewis Story by Gene Lewis [Draft Script] October 21, 1944 [with revisions on blue paper dated 10/25/44] 101 pp.

TILL WE MEET AGAIN. Screenplay by Lenore Coffee RELEASE DIALOGUE SCRIPT May 3, 1944 About 70 pp.

LOVE LAUGHS AT ANDREW HARDY. [Orig. UNCLE ANDREW HARDY] From: Carey Wilson [Writer: William Ludwig, Harry Ruskin Story: Howard Dimsdale Characters: Aurania Rouverol] [Draft Script] 3-21-44 [with revisions dating through to 4-8-44] 116 pp.



1945

IRON MAJOR, THE. Screenplay by Aben Kandel [Warren Duff] Story by Florence E. Cavanaugh FINAL April 17, 1945 [with revisions on blue paper dated to 6/28/45] 116 pp.

MISS SUZIE SLAGLE’S. Screenplay by Anne Froelick and Hugo Butler Additional Dialogue by Theodore Strauss Adaptation by Anne Froelick and Adrian Scott From a Novel by Augusta Tucker RELEASE DIALOGUE SCRIPT March 6, 1945 About 70 pp.

Froelick, Anne (unknown)
Froelich’s film career spans the 1940s beginning with SHINING VICTORY (’41), and following up with MISS SUZIE SLAGLE’S (’45), EASY COME, EASY GO (’47), HARRIET CRAIG (’50). (Francke, p. 151)

SEARCHING WIND, THE. by Lillian Hellman, [3rd Temporary typed], Sept. 11, 1945, typed notes by Walter Abbott at end. About 125 pp.

A story about Americans reactions to the rise of Facism in Italy and Germany which was made just prior to Lillian Hellman being brought up before the House on Un-American activities during which she would not name names and was then blacklisted by Hollywood.

HELLMAN, LILLIAN (1905-1984)
It was fashionable in the Hollywood of the 1930s to be part of a radical political movement. Liliian Hellman was zealous in this cause a long with a number of writers, directors and actors. Hellman was very outspoken and brought a strong woman’s view to all her works. She was born in New Orleans, raised in New York City and attended Columbia University. She was first a journalist, then married writer Athur Kobler in 1925. He came to Los Angeles to write for the movies, and so did she. While in Hollywood she fell in love with writer Dashiell Hammett, divorced her husband and continue a relationship with Hammett for over 30 years. She was extremely successful with her play THE CHILDREN’S HOUR, then went to Europe, traveling with Ernest Hemingway in Spain. It was these associations which gave her an edge in writing for film and she was highly paid. Her next success on Broadway and film was THE LITTLE FOXES. The politics and strong libertarian thoughts which had given her the edge landed her in hot water in the late 1940s with the House on Un-American Activities Committee. She was scrutinized by the FBI for more than 30 years because of her association with Hammett, who was known to be a member of the Communist party. She nevertheless continued to write and lecture. Amongst her film work is THE DARK ANGEL (’35), THESE THREE (’36) (adapted from THE CHILDREN’S HOUR), DEAD END (’37), THE LITTLE FOXES (’41), THE NORTH STAR (’43), THE CHASE (’66) and JULIA (’77). She was nominated for Academy Awards for her screenplays in 1941 and 1943.


TROUBLE WITH WOMEN, THE. (Orig. TOO GOOD TO BE TRUE) Writer: Arthur Sheekman [Story: Richard Bransten, Ruth McKenney] [Shooting Script] April 27, 1945 127 pp.


REFERENCES

Beauchamp, Cari. Without Lying Down: Frances Marion and the Powerful Women of Early Hollywood. Berkeley: University of California Press. 1997.

Francke, Lizzie. Script Girls: Women Screenwriters in Hollywood. London: BFI Publishing. 1994.

McCreadie, Marsha. The Women Who Write the Movies: From Frances Marion to Nora Ephron. New York: Birch Lane Press. 1994.

WOMEN SCREENWRITERS SCRIPT COLLECTION
1946-2001

A collection of original scripts by women screenwriters beginning at the end of World War II and running to the end of the twentieth century. Spanning the years 1946-2000, this collection contains 465 individual drafts, representing 385 different motion pictures. A powerful and unique assemblage of treatments, early drafts, corrected drafts, final drafts, and revised final drafts. The archive represents literally every film genre and style, including dramas, musicals, Westerns, women’s pictures, and the emerging film noir style, which had reached its apex by the mid-late 1940s.

The end of World War II found a grouping of women screenwriters in Hollywood that was small compared to the era of their dominance prior to 1929, but with an increase due to the shortage of men during the war. Among the writers from this era represented here are Muriel Roy Bolton, Patricia Harper, Elizabeth Beecher, Dorothy Bennett, Ethel Hill, Anne Froelick, Sonia Chernius, Helen Deutsch, Sally Benson, Dorothy Kingsley, Ketti Frings, and Isobel Lennart.

After men were reinstated to their former work, however, the number of women involved in screenwriting diminished considerably. While husband/wife writing teams had been in vogue since the 1930s, especially in light romantic comedy and musicals, the decline in women with sole writing credits was especially diluted given those who were working were more than likely sharing credit for authorship (McCreadie, p. 154). Nevertheless, a few outstanding duos managed to carry on into the 1960s. Some of the ones represented her are Frances Goodrich, Harriet Frank, Jr., Mary Loos, Edna Anhalt, Phoebe Ephron, Ruth Goetz, Gwen Bagni, Fay Kanin, Betty Comden, and Elizabeth Wilson.

The end of the entrenched studio system in the early 1960s resulted in a dearth of women writers that continues to this day (McCreadie, p. 184). The few able to remain on the scene were writing revolutionary and powerful works that challenged stereotypical notions of gender, that seek to open a more real and psychological avenue toward character development (Francke, p. 86). Simultaneously, women were also writing commercially safe scripts that re-enforced female stereotypes (Francke, p. 116). The one constant between these two very different trajectories was the notable lack of women writing for any specific audience at all (McCreadie, p. 228). The female writers from this era tended to either be iconoclasts or conservative writers who knew how to bend to the will (however subversively) of a male-dominated industry. Represented here from this august group are Eleanor Perry, Carole Eastman, Jay Presson Allen, Barbara Turner, Bridget Boland, Carol Sobieski, Nancy Dowd, Dalene Young, Blanche Hanalis, Nora Ephron, Jane Wagner, Patricia Resnick, Joan Tewkesbury, Gloria Katz, Nancy Meyers, Amy Heckerling, Valerie Curtin, Mary Agnes Donoghue, Anne Hamilton Phelan, Hilary Henkin, Caroline Thompson, Bonnie Turner, Melissa Mathison, Kathryn Bigelow, and Leslie Dixon.


A virtually irreplaceable collection reflecting the changing role of the female writer during the rough-and-tumble (and today revered) 1970s and on into the 1980s. Too, beginning in the 1950s, television began to dominate the entertainment industry and by the 1970’s movies made for television and mini-series were popular fare. Finally, a resurgence of women writing for film began in the mid-1980s and continues to this day.

1946

BIG FIX, THE. [Writer: Audrey Wisberg, Joe Bricker Story by Sonia Chernius, George Ross] Screenplay by Charles K. Peck, Jr. and Peter R. Brooke ca. 1946 76 pp.

Chernius, Sonia (1909-1990)
Chernius’ screenwriting career is somewhat spotty with very few citations between THE BIG FIX and THE OUTLAW JOSEY WALES (’76). (Francke, p. 148). Much of her work seems have been devoted to television during the 1950s and 1960s.

BLACK BEAUTY. Screenplay by Lillie Hayward and Agnes Christine Johnson CONTINUITY AND DIALOGUE TAKEN FROM THE MOVIOLA April 20, 1946 Corrected May 25, 1946 About 100 pp.

EASY COME, EASY GO. Screenplay by Francis Edwards Faragoh, John McNulty and Anne Froelich RELEASE DIALOGUE SCRIPT May 13, 1946 About 60 pp.

IDEA GIRL. Screenplay by Charles R. Marion Adaptation: Elwood Ullman Original Story by Gladys Shelley CONTINUITY & DIALOGUE January 21, 1946 About 80 pp.

MAN IN GREY, THE. Adaptation: Doreen Montgomery Screenplay: Margaret Kennedy and Leslie Arliss January 8, 1946 About 100 pp.

PARADINE CASE, THE. From the novel by Robert Hichens Screenplay by James Bridie Adaptation by Alma Reville Additional Dialogue by Ben Hecht FINAL SHOOTING SCRIPT Dec. 10, 1946 177pp.

Selznick International Pictures, December 10, 1946 through February 27, 1947, with inserted prelims dated November 25, 1947. Denoted a "final shooting script," but with date revises extending over the following months as above. A production script for this screen version of Hichen's 1933 novel, based on an adaptation by Alma Reville (Hitchcock's wife and collaborator), and a Screenplay by James Birdie, with additional dialogue contributed by Ben Hecht. The December 1947 release starred Gregory Peck, Ann Todd, Charles Laughton, Ethel Barrymore, et al. Selznick's considerable and almost daily involvement in the rewriting of the script while the film was being shot (beginning on December 19) is a matter of record, and it would appear from the dating of the revises in this draft that, including the four preliminary leaves recording retakes and added scenes dated November 25, 1947, just over a month away from the premiere, it represents a version adapting to that rewriting. The length of this particular draft is interesting as well, because Selznick cut nearly an hour from the film after Hitchcock turned in his first edit in April 1947.

REVILLE, ALMA (1899-1982)
Perhaps Alma was the great woman behind the great man, Alfred Hitchcock. She was his closest collaborator in work and in life. She also maintained a career of her own. She started as a cutter in the British film industry, even before her husband started in the business. She knew film making from every creative level. Because of this, Hitchcock consulted with her on every aspect of his films while making them. She was involved in the stories, scripts, storyboards and on the set production through the final edit. If Alma loved his final work, Hitch considered that the greatest compliment. She was the writer on some of his earliest works in the U. K., including THE RING (’27), JUNO AND THE PAYCOCK (’30) and MURDER (’30). She went on to write screenplays on some of his most famous U. K and American films, including SECRET AGENT (’36), JAMAICA INN (’39), SUSPICION (’41), SHADOW OF A DOUBT (’43) (with Thornton Wilder and Sally Benson), and STAGE FRIGHT (’50). Along the way, however, she retained her own screenwriting career with such titles as THE CONSTANT NYMPH (’28), THE OUTSIDER (’31), NINE TILL SIX (’32), FORBIDDEN TERRITORY (’34), and the odd Fred Allen, Jack Benny comedy, IT’S IN THE BAG (’45). In 1979 she became Lady Hitchcock when her husband was knighted.


PIRATES OF MONTEREY, THE . Screenplay by Sam Hellman & Margaret Wilder REVISED FINAL April 18, 1946 [with revisions on yellow paper dated through to 6/10/46] 110 pp.

SEVENTH VEIL, THE . Original Story and Screenplay by Muriel and Sydney Box CONTINUITY & DIALOGUE January 31, 1946

TEMPTATION. Screenplay by Robert Theoren [Contributing Writer: Louella McFarlane (afi)] CONTINUITY & DIALOGUE September 28, 1946 About 100 pp.

WICKED LADY, THE . Screenplay by Leslie Arliss From the Novel “The Life and Death of the Wicked Lady Skelton” CONTINUITY & DIALOGUE October 28, 1946 About 100 pp.

1947

BIG CITY, THE [Writer Ann Morrison and Whitfield Cook, Adaptation Nanette Kutner] SCRIPT 10/6/47 with change pages for 10/7/47 133 pages


GOLDEN EARRINGS. Screenplay by Abraham Polonsky, Frank Butler and Helen Deutsch CENSORSHIP DIALOGUE SCRIPT January 25, 1947 About 100 pp.

Helen Deutsch (1906-1992)
Deutsch was one of the most talented of writers under the MGM star banner. Not only did she write top notch screenplays, but she was a composer and author as well. Her most famous song is “Hi-Lili, Hi-Lo”, written for the classic film LILI (she was nominated for an Academy Award for Screenplay for this film and won the Golden Globe and WGA award in that field for 1953). Amongst the film classics she wrote are: NATIONAL VELVET (’44), GOLDEN EARINGS (’47), THE LOVES OF CARMEN(’48), KING SOLOMONS MINES (’50), KIM (’50), I’LL CRY TOMORROW (’55) and the cult classic VALLEY OF THE DOLLS (’67).

HOMESTRETCH, THE. Original Screenplay by Wanda Tuchock CONTINUITY & DIALOGUE TAKEN FROM THE SCREEN May 6, 1947 About 120 pp.

1948

MISS TATLOCK’S MILLIONS. (Orig. THE TATLOCK MILLIONS) RELEASE DIALOGUE SCRIPT Screenplay by Charles Brackett and Richard L. Breen [Contract Writers: Helen Deutsch, Frances Goodrich, Albert Hackett] August 24, 1948 About 90 pp.

MOTHER IS A FRESHMAN. Screenplay by Mary Loos and Richard Sale First Draft Continuity June 3, 1948 151 pp.

Loos, Mary (1910-2004)
Pioneering screenwriter Mary Loos, who partnered with Richard Sale, together had a film career spanning two decades with fare such as RENDEZVOUS WITH ANNIE (’46), DRIFTWOOD (’47), and GENTLEMEN MARRY BRUNETTES (’55). (Francke, p. 157). Mary was the niece of popular novelist and screen writer Anita Loos. She became a writer and producer of 1950s television.

MOTHER IS A FRESHMAN. Screenplay by Mary Loos and Richard Sale Final Script July 15, 1948 151 pp.

SAINTED SISTERS, THE . Screenplay by Harry Clork, N. Richard Nash Adapted by Mindret Lord Based on a Story by Elisa Bialk and a Play by Elisa Bialk, Alden Nash RELEASE DIALOGUE SCRIPT March 2, 1948 About 70 pp

SONG OF SURRENDER. (Orig. NOW AND FOREVER) Screenplay by Richard Maibaum [Story: Ruth McKinney and Richard Bransten] 2nd Change [Draft Script] 2-19-48 93 pp.

SONG OF SURRENDER. (Orig. NOW AND FOREVER) Screenplay by Richard Maibaum From a Story by Ruth Mckinney and Richard Bransten CENSORSHIP DIALOGUE SCRIPT June 19, 1948 About 80 pp.

SONG OF SURRENDER. (Orig. NOW AND FOREVER) Screenplay by Richard Maibaum From a Story by Ruth Mckinney and Richard Bransten RELEASE DIALOGUE SCRIPT June 30, 1948 About 80 pp.

CONSPIRATOR. From: Sally Benson [Draft Script] 7-28-48 [with revisions dated through to 8-18-48] 142 pp.

Benson, Sally (1897-1972)
Screenwriter Sally Benson’s film career spans three decades. Some notable entries are SHADOW OF A DOUBT (’43), MEET ME IN ST. LOUIS (’44), and VIVA LAS VEGAS (’64). (Francke, p. 146). Benson is most famous for her book, MEET ME IN ST. LOUIS which is based on her real life story of growing up during the turn of the century in the city that was hosting the 1904 World’s Fair. The role of Tootie, as played by Margaret O’Brien is Sally Benson. Benson though was able to write in several genres. It was most likely her work on ST. LOUIS which brought her to the attention of Alfred Hitchcock for her first screenplay, that a story of a close knit family like the Smith family, but one in which they must deal with true terror. That was the Newton family in SHADOW OF A DOUBT. Her light touch and love of family was present in her screenplays for LITTLE WOMEN (’49) and COME TO THE STABLE (’49). The darker side of her psyche was again present for her work on CONSPIRATOR (’49). She was nominated for an Academy Award for her work on ANNA AND THE KING OF SIAM (’46).

CONSPIRATOR. From: Sally Benson [Draft Script] 8-26-48 [with revisions dated through to 9-28-48] 124 pp. (Includes RETAKES dated 4-1-49, bound in.)

1949

BAGDAD. [Story by Tamara Hovey] Revised Second Draft Screenplay by Oscar Brodney March 18, 1949 105 pp. [Orig. Typed MS carbon copy with sections cut and pasted in]

BAGDAD. [Story by Tamara Hovey] Revised Third Draft Screenplay by Morgan B. Cox April 26, 1949 About 100 pp. [Orig. Typed MS carbon copy]

BAGDAD. [Story by Tamara Hovey] FINAL SHOOTING SCRIPT by Morgan Cox May 18, 1949 [with revision on blue paper dated 5/19/49] About 100 pp.

BAGDAD. [Story by Tamara Hovey] CONTINUITY AND DIALOGUE Oct. 31, 1949 About 100 pp.

FATHER WAS A FULLBACK. Screenplay by Mary Loos and Richard Sale Revised Final February 25, 1949 138 pp. [Includes cast and staff list, not bound in]

TICKET TO TOMAHAWK, A. Written for The Screen by Mary Loos and Richard Sale Revised Final June 24, 1949 [with revisions on blue paper dating through to 7/19/49] 131 pp. [includes 2 pp added scenes bound in at end]

SKIPPER SURPRISED HIS WIFE, THE. By Dorothy Kingsley [DRAFT] Script dated 10-12-49 [with revisions on pink paper dated through to 12/6/49] 122 pp.

Kingsley, Dorothy (1909-1997)
Described as “part of the second generation of film writers that were reasonably well known” in the popular culture, mid-20th century screenwriter Dorothy Kingsley wrote such famous fare as BROADWAY RHYTHM (’44), KISS ME KATE (’53), SEVEN BRIDES FOR SEVEN BROTHERS (’54), PAL JOEY (’57) and VALLEY OF THE DOLLS (’67). (Mc, p. 4; Francke, p. 155) Kingsly wrote many of the top MGM musical scripts of the 1940’s and 50’s including those for Judy Garland, Mickey Rooney and the Esther Williams water spectaculars. She cut her teeth in the field by writing for Bob Hope and Edgar Bergin on radio in the 1930’s. Arthur Freed then hired her for his MGM production unit.

FATHER OF THE BRIDE. From: Frances Goodrich, Albert Hackett COMPOSITE SCRIPT 2-24-49 128 pp.

1950

CATTLE DRIVE. By Lillie Hayward SECOND DRAFT SCREENPLAY September 7, 1950 117 pp.

DESERT HAWK, THE. By Gerald Drayson Adams [story and screenplay by Aubrey Wisberg and Jack Pollexfen February 14, 1950 [with revisions on multicolored paper dating through to 3/22/50] About 140 pp.

FAMILY SECRET, THE. [Orig. THE SECRET] Screenplay by Francis Cockrell and Andrew Solt FINAL DRAFT December 12, 1950 136 pp.

LADY POSSESSED. (Orig. DEL PALMA) From the Novel by Pamela Kellino [Pamela Mason] Screenplay by William Spier, Roy Kellino Additional Dialogue: Pamela Kellino [Pamela Mason] REVISED SHOOTING SCRIPT November 8, 1950 114 pp.

LITTLE EGYPT. Screenplay by Doris Gilbert FINAL SHOOTING SCRIPT October 3, 1950 [with revisions on blue and pink paper dated through to 11/25/50] 122 pp.

REUNION IN RENO. [Story] by Brenda Weisberg and William Sackheim TREATMENT July 13, 1950 54 pp.

SIERRA. Screenplay by Edna Anhalt CONTINUITY & DIALOGUE January 16, 1950 About 80 pp.

Anhalt, Edna (1914- )
Spanning over a decade, Edna Anhalt and her writing partner, husband Edward Anhalt, occasionally collaborated on film scripts in the mid-20th century. Some of her notable contributions include BULLDOG DRUMMOND STRIKES BACK (’47), EMBRACEABLE YOU (’48), PANIC IN THE STREETS (’50), and THE PRIDE AND THE PASSION (’57). (Francke, p. 146) She was nominated for an Academy Award for THE SNIPER (’52) and won the 1950 Academy Award for best writing for PANIC IN THE STREETS.

PLYMOUTH ADVENTURE, THE. From Helen Deutsch COMPOSITE SCRIPT 9/7/50 141 pp. [includes Appendix, bound in at end, about 30 pp.]

PLYMOUTH ADVENTURE, THE. From Helen Deutsch [DRAFT SCRIPT] 10/9/50 136 pp. [includes Appendix, bound in at end, about 15 pp.]


1951

BELLES ON THEIR TOES. Screenplay by Phoebe and Henry Ephron Temporary Script April 14, 1951 114 pp.

Ephron, Phoebe (1914-1971)
Along with husband Henry, Phoebe Ephron collaborated on many productions in the mid 20th century. Part of the, then in vogue light comedy – married writing teams in the 1940s and 1950s, Ephron brought a “cool and couth” element to the Hollywood scene. Parents to daughter screenwriters Nora and Delia Ephron. Some notable films include LOOK FOR THE SILVER LINING (’49), CAROUSEL (’56), and THE DESK SET (’57) (Francke, p. 66, 150; Mc., p. 171) She was nominated for an Academy Award for CAPTAIN NEWMAN, M. D. (’63).

BELLES ON THEIR TOES . Screenplay by Phoebe and Henry Ephron Revised Final August 17, 1951 120 pp.

PHONE CALL FROM A STRANGER. Screenplay by Nunnally Johnson From a story by I.A.R. Wylie Revised Final July 19, 1951 [with revisions on blue paper dating through to 8/28/51] 105 pp.

RAIDERS, THE . (Orig. THE RIDING KID) by Lillie Hayward [Writer: Polly James Story: Lyn Crost Kennedy] First Draft Screenplay May 12, 1951 122 pp.

REUNION IN RENO. Screenplay by Hans Jacoby and Shirley White [Adaptation by Lou Breslow Story by Brenda Weisberg and William Sackheim] Second Draft Screenplay January 27, 1951 [with revisions on blue paper dated 2/26/51] 132 pp.

REUNION IN RENO. Screenplay by Hans Jacoby and Shirley White Adaptation by Lou Breslow Story by Brenda Weisberg and William Sackheim CONTINUITY & DIALOGUE August 7, 1951 About 70 pp.

PLYMOUTH ADVENTURE, THE. From Helen Deutsch COMPOSITE SCRIPT 7/10/51 137 pp. [includes Appendix, bound in at end, about 15 pp.]

1952

BECAUSE OF YOU. Screenplay by Ketti Frings CONTINUITY & DIALOGUE August 26, 1952 About 120 pp.

Frings, Ketti (1909-1981)
“Trusted to do the job by the studios,” mid-20th century screenwriter Ketti Frings enjoyed considerable skill in “melodrama and hardboiled noir.” Notable contributions to film include HOLD BACK THE DAWN (’41), THE ACCUSED (’48), COME BACK LITTLE SHEBA (’52) and THE SHRIKE (’55). (Francke, p. 52, 151). A very noted playwright, she won the 1958 Pulitzer Prize for drama for her play LOOK HOMEWARD ANGEL.

FRANCIS GOES TO WEST POINT. Story and Screenplay by Oscar Brodney Additional Dialogue by Dorothy Reid CONTINUITY & DIALOGUE May 12, 1952 About 70 pp.

RHAPSODY . Writers: Ruth and Augustus Goetz Based on Henry Handel Richardson’s novel, “Maurice Guest” REVISED LIMITED DISTRIBUTION September 19, 1952 130 pp.

Goetz, Ruth (1908-2001)
Along with husband Augustus Goetz, Ruth Goetz wrote THE HEIRESS (’49), CARRIE (’52), STAGE STRUCK (’58)

UNTAMED FRONTIER. Screenplay by Gerald Drayson Adams and John and Gwen Bagni Additional Dialogue by Polly James Story by Houston Branch and Eugenia Wright CONTINUITY & DIALOGUE May 8, 1952 About 80 pp.

Bagni, Gwen (1913-2001)
In addition to the above title, mid-20th screenwriter Gwen Bagni wrote CAPTAIN CHINA (’49), LAW AND ORDER (’53), and WITH SIX YOU GET EGGROLL (’68). (Francke, p. 146) Gwen went on to be a prolific writer for television and was nominated for an Emmy for an episode of BACKSTAIRS AT THE WHITE HOUSE (’79).

1953

GREAT SIOUX UPRISING, THE. Screenplay by Melvin Levy, J. Robert Bren and Gladys Atwater Story by J. Robert Bren and Gladys Atwater CONTINUITY & DIALOGUE March 25, 1953 About 90 pp.

Atwater, Gladys (1899-1988)
Screenwriter Gladys Atwater’s screenwriting career spans the 1930s to the 1950s. Note the variety of genres represented in titles like CRIMINAL LAWYER (’37), CRIME RING (’38), PARENTS ON TRIAL (’39) and THE GREAT SIOUX UPRISING (’53). (Francke, p. 146) She wrote crime melodramas and westerns.

LAW AND ORDER. Screenplay by John and Gwen Bagni and D. D. Beauchamp Adaptation by Inez Cocked CONTINUITY AND DIALOGUE January 28, 1953 About 70 pp.

RHAPSODY. From Fay and Michael Kanin [Adaptation: Ruth and Augustus Goetz] REVISED FINAL 6-3-53 [with revisions on pink paper dated through to 6-17-53 & retakes dating 8/6/53] About 115 pp.

Kanin, Fay (1917- )
Kanin wrote mostly as a collaborator with Michael Kanin, one of many husband and wife writing teams of the 1940s and 1950s. Michael Kanin was also the brother of Garson Kanin, himself married to Ruth Gordon. They received an Oscar nomination for the film TEACHER’S PET (’56). Fay Kanin was also elected the first woman president of AMPAS, where she served four consecutive terms. Other notable titles in her long career spanning four decades include SUNDAY PUNCH (’42), THE RIGHT APPROACH (‘61) and FRIENDLY FIRE (1982). Fay also produced several films for television and acted in the films A DOUBLE LIFE (’47) and RICH AND FAMOUS (’81).

1954

MAGNIFICENT OBSESSION. Screenplay by Robert Blees Adaptation by Wells Root Based upon the Screenplay by Sarah Y. Mason – Victor Freeman CONTINUITY & DIALOGUE MARCH 1, 1954 About 80 pp.

One of the 1950s finest melodramas, directed by the great Douglas Sirk, with an Academy Award nominated performance by Jane Wyman.

RICOCHET ROMANCE. Story and Screenplay by Kay Lenard CONTINUITY& DIALOGUE May 26, 1954 About 90 pp.

WOMAN’S WORLD. Screenplay by Howard Lindsay and Russel Crouse Based on a Script by Claude Binyon [Writer: Mary Loos, Richard Sale Story: Mona Williams] Final Script April 20, 1954 [with revisions in blue dated through to 4/22/54] 127 pp. (Includes retakes and additional scenes about 10 pp.)

SWORDSMAN OF SIENA, THE . From Fay & Michael Kanin TEMPORARY COMPLETE [DRAFT] 11-29-54 119 pp.

1955

FOXFIRE. Screenplay by Ketti Frings Based on the story by Anya Seton CONTINUITY & DIALOGUE February 3, 1955 About 80 pp.

HUGGER MUGGER IN THE LOUVRE. Written by Mary Loos & Richard Sale and Richard Condon First Draft Screenplay [ca. 1955] 153 pp. [Not produced.]

SHRIKE, THE. Screenplay by Ketti Frings based on the Play by Joseph Kramm CONTINUITY & DIALOGUE April 5, 1955 About 90 pp.

I’LL CRY TOMORROW. From: Helen Deutsch 1-18-55 [with revisions dating through to 2-17-55] 153 pp.

Strong auto-biographical story by actress Lillian Roth which openly addressed the problems of fame and alcoholism. Susan Hayward was nominated for an Academy Award for her portrayal.

1956

DESK SET, THE. Screenplay by Phoebe and Henry Ephron First Draft Continuity October 12, 1956 142 pp.

Popular comedy with the great screen team of Spencer Tracy and Katharine Hepburn.

ISTANBUL. Final Screenplay by Barbara Gray [Orig. title page reads: Second Draft Screenplay by RICHARD ALAN SIMMONS] January 27, 1956 [with revisions on multicolor paper dated through to 3/1/56] About 110 pp. [includes many notations and revisions, pasted/stapled onto pages, bound in]

ISTANBUL . Story by Seton I. Miller, Barbara Gray and Richard Alan Simmons Story by Seton I. Miller CONTINUITY & DIALOGUE August 14, 1956 About 90 pp.

TOY TIGER, THE. Screen Story and Screenplay by Ted Sherdeman Suggested by a Story by Frederick Kohner and Marcella Burke CONTINUITY & DIALOGUE March 19, 1956 About 90 pp.

UNGUARDED MOMENT, THE. (Orig. THE HIDDEN HEART [Screenplay by Herb Meadow and Larry Marcus Based upon a story by Rosalind Russell and Larry Marcus] [Draft Script] [ca. 1956] About 132 pp.

Sexual repression in America was the theme of this melodrama and popular actress Rosalind Russell wrote this story which presented swimming star Esther Williams with a strong dramatic role.

UNGUARDED MOMENT, THE. Screenplay by Herb Meadow and Larry Marcus Based upon a story by Rosalind Russell and Larry Marcus CONTINUITY & DIALOGUE June 26, 1956 About 90 pp.

1957

CALYPSO JOE. By Edward and Mildred Dein [Draft Script] ca. 1957 54 pp.

SLIM CARTER. Screenplay by Montgomery Pittman From a Story by David Bramson and Mary C. McCall, Jr. CONTINUITY & DIALOGUE July 12, 1957 About 80 pp.

1958

CERTAIN SMILE, A. Screenplay by Frances Goodrich and Albert Hackett Revised Final January 28, 1958 [with revisions on blue paper dated through to 2/28/58] 114 pp.

RAW WIND IN EDEN. Screenplay by Elizabeth and Richard Wilson From a Story by Dan Lundberg and Elizabeth Wilson CONTINUITY & DIALOGUE February 25, 1958 About 100 pp.

Wilson, Elizabeth (1914-2000)
Writing in the Cold War years between 1951 and 1964, Elizabeth Wilson’s contribution to film also includes the westerns CAVE OF OUTLAWS (’51) and INVITATION TO A GUNFIGHTER (’64). (Francke, p. 164)

RESTLESS YEARS. THE. (Orig. THE WONDERFUL YEARS) Screenplay by Edward Anhalt Based on a play by Patricia Joudry (Steele) CONTINUITY & DIALOGUE January 21, 1958 About 90 pp.

RESTLESS YEARS. THE .(Orig. THE WONDERFUL YEARS) Screenplay by Edward Anhalt Based on a play by Patricia Joudry (Steele) CONTINUITY & DIALOGUE September 12, 1958 About 90 pp.

WONDERFUL YEARS, THE. Screenplay by Edward Anhalt Based on a play by Patricia Joudry (Steele) CONTINUITY & DIALOGUE January 21, 1958 About 80 pp.

HOME BEFORE DARK. Screenplay by Eileen and Robert Bassing FINAL 12/12/57 [with revisions on blue and white paper dated through to 3/14/58 154 pp.



1959

TWO FOR THE SEESAW. Screenplay by Isobel Lennart From the Play by William Gibson [Draft Script] October 7, 1959 135 pp.

A very early draft of this classic film based on the Broadway play. The film was eventually made and released in late 1962. Directed by Robert Wise, it starred Robert Mitchum and Shirley MacLaine.

Lennart, Isobel (1915-1971)
Starting at MGM in the early 1940s , Isobel Lennart “excelled in light comedies and musicals.” Noted for successfully riding the corporate transition in the studio system of the 1950s-60s. Lennart penned the following noteworthy scripts before dying prematurely in an automobile crash in 1971: ANCHORS AWEIGH (’45), LOVE ME OR LEAVE ME (’55), PLEASE DON’T EAT THE DAISIES (’60), and FUNNY GIRL (’68). SUNDOWNERS (’60) was nominated for an Oscar in 1961. (Francke, p. 66, 156; Mc, p. 152) She was also Oscar nominated for her screenplay for LOVE ME OR LEAVE ME (’55) and won the Writers Guild Award for FUNNY GIRL (’68). She was nominated for Tony award for her book for the famous Broadway version of FUNNY GIRL, which she later adapted to screenplay. She wrote strong starring roles for Margaret O’Brien, Jane Powell, Kathryn Grayson, Barbara Stanwyck, Ava Gardner, Lana Turner, Doris Day, Cyd Charisse, Ingrid Bergman and Barbra Streisand.

1960

WIZARD OF BAGHDAD, THE. Screenplay by Jesse Lasky, Jr. and Pat Silver Story by Samuel Newman FINAL [Draft] July 19, 1960 [with revisions on blue paper dated through to 8/2/60] 113 pp.

1961

BACK STREET. Screenplay by Eleanore Griffin and William Ludwig Continuity & Dialogue August 23, 1961 About 110 pp. [includes Continuity & Dialogue Transcript for FASHION TRAILER on BACK STREET August 17, 1961 About 10 pp.]

Hi gloss version of the famous Fannie Hurst novel, the ultimate “other woman” story.

LION, THE. [Writers: Irene Kamp, Louis Kamp, Joseph Kessel] FINAL Sept. 14TH, 1961 [with revisions on multicolored paper dated through to 12/29/61] 149 pp.

SOMERSAULT. By Eleanor and Francis Perry First Draft Screenplay April 22, 1961 161 pp.

Perry, Eleanor (1914-1981)
It’s appropriate that Perry heads up the 1960s in this collection. Coming to screenwriting relatively late, in her late forties, Perry “brought a real feminist sensibility” to her work. Her concerns and interest in psychological, including mental health are evidenced in DAVID AND LISA (’62) which was also nominated for an Oscar in 1963. By the time DIARY OF A MAD HOUSEWIFE (’70) which recounts the breakup with Francis Perry, Perry’s strident political feminism soured the studios’ taste for her scripts. Other notable screenplays include LADYBUG LADYBUG (’63), THE SWIMMER (’68) and THE MAN WHO LOVED CAT DANCING (’73). (Francke, p. 87-88, 159) She often wrote the films which her husband Frank Perry directed.

TWO FOR THE SEESAW. Screenplay by Isobel Lennart From the Play by William Gibson [Draft Script] December 13, 1961 140 pp.


1962

FORTY POUNDS OF TROUBLE. By Marion Hargrove Final Screenplay January 10, 1962 150 pp.

FORTY POUNDS OF TROUBLE. By Marion Hargrove Revised Final Screenplay February 22, 1962 142 pp.

1963

CAPTAIN NEWMAN, M.D. Screenplay by Richard L. Breen, Phoebe and Henry Ephron CONTINUITY & DIALOGUE October 11, 1963 About 130 pp.

IT SEEMS THERE WERE THESE TWO IRISHMEN. By Marion Hargrove. 2nd Draft March 4, 1963 155 pp.

LOOKING FOR LOVE. From: Ruth Brooks Flippen. [Draft Script] August 15, 1963 110 pp.

SANDPIPER, THE. Screenplay by Irene Kamp and Louis Kamp. SECOND DRAFT January 31, 1963 160 pp.

WHAT A WAY TO GO! (Orig. I LOVE LOUISA) Screenplay by Betty Comden and Adolph Green. Revised Second Draft June 7, 1963 104 pp.

Comden, Betty (1915-2006)
Part of a well known 1940s and 50s writing team, though not as husband and wife, Betty Comden and Adolph Green came to Hollywood in the early 1940s to be performers, but the studios struggled with finding them the right outlet for their talents. However, in 1947 MGM placed them under contract. As the studio system was being dismantled in the early 1960s, Comden and Green both transitioned successfully to television. Comden and Green’s “musical comedies are still considered top of the line. Here’s a short sample of their work: ON THE TOWN (’49), SINGIN’ IN THE RAIN (’52), THE BAND WAGON (’53) and AUNTIE MAME (’58) (Mc, p. 174-5; Francke, p. 66, 149) Betty came to MGM after writing the lyrics to the ever popular musical ON THE TOWN for Broadway. She continued her songwriting all the while writing screenplays with Green. She wrote both scripts and song lyrics for the legends of film musicals including Judy Garland, Gene Kelly, Fred Astaire, Ginger Rogers, June Allyson, Frank Sinatra, Mary Martin and Judy Holiday.

WHAT A WAY TO GO! Screenplay by Betty Comden and Adolph Green Final. Script July 8, 1963 [with revisions on blue and pink paper dated through to 8/12/63] 124 pp.

WHAT A WAY TO GO! Screenplay by Betty Comden and Adolph Green. Revised Final Script August 12, 1963 [with revisions on blue and pink paper dated through to 10/17/63] 124 pp.

1964

GAY PLACE, THE. Screenplay by Irving Ravetch and Harriet Frank, Jr. FIRST ESTIMATING DRAFT April 15, 1964 132 pp.

Frank Jr., Harriett (1917- )
Another successful married writing team of the 1940s and 50s, Frank Jr. collaborated with husband Irving Ravetch for five decades on such varied films as SILVER RIVER (’48), THE LONG HOT SUMMER (’58), THE SOUND AND THE FURY (’59), HUD (’63), HOMBRE (’67), NORMA RAE (’79), MURPHY’S ROMANCE (’85) and STANLEY AND IRIS (’90) (Mc, p. 177-179; Francke, p. 151). She was nominated for Academy Awards for HUD and NORMA RAE.

1965

HOMBRE . [by] Irving Ravetch and Harriet Frank, Jr. FIRST DRAFT SCREENPLAY June 7, 1965 121 pp.

MADAME X. By Jean Holloway. Second Revised Final Screenplay January 25, 1965 125 pp.

MADAME X. Screenplay by Jean Holloway. FINAL SCREENPLAY August 13, 1965 [with revisions on blue paper dated to 8/14/65] 125 pp.

MADAME X. Screenplay by Jean Holloway CUTTING AND DIALOGUE 1965 About 70 pp.


1966

FITZWILLY. Screenplay by Isobel Lennart FINAL DRAFT September 9, 1966 [with revisions on blue and pink paper dated through to 10/3/66 125 pp.

PETULIA. (Orig. ME AND THE ARCH KOOK PETULUA) Screenplay by Barbara Turner from John Haase’s Novel [Draft Script] August 15, 1966 153 pp.

Significant look at the changing morals in America during the swinging 60s.

Turner, Barbara (unknown)
Mid to late 20th century screenwriter Barbara Turner’s film career spans three decades and includes the following notable productions THE AFFAIR (’73) and CUJO (’84). (Francke, p. 162) Turner is also a noted film and television actress. Her daughter is the well known actress Jennifer Jason Leigh. Turner’s last film writing credit was for 2003’s THE COMPANY. Presently she is announced as writer on an untitled Ernest Hemingway project.

VALLEY OF VIRGINIA, THE . Screenplay by Jean Holloway. [Draft Script] August 8, 1966 199 pp.

COOL ONES, THE. Story and Screenplay by Joyce Geller. 6/28/66 [with revisions on blue and white paper dated through to 12/12/66] 105 pp. (Includes insert of LYRICS dated 7/21/66.)

1967

ANNE OF THE THOUSAND DAYS. [Written by Bridget Boland, John Hale] Temporary Script Nov 1, 1967 143 pp.

Boland, Bridget (1913-1988)
Along with the above entry, 1960s screenwriter Bridget Boland also write DAMON AND PYTHIAS in 1962. British born, she started her career in films in Britain in 1940, including the first version of GASLIGHT. She also wrote the screenplay for the 1956 film version of Tolstoy’s WAR AND PEACE. Her script for ANNE OF A THOUSAND DAYS was nominated for an Academy Award for 1969.

1968

RED SKY AT MORNING. Screenplay by Richard Bradford. [Writer: Marguerite Roberts Novel: Richard Bradford] First Draft November 21, 1968 142 pp.



1969

DIAL HOT LINE. By Carol Sobieski. [DRAFT SCRIPT] July 28, 1969 [with revisions dated to 9/9/69] 120 pp.

Carole Sobieski (1939-1990)
With a career spanning three decades Carol Sobieski wrote a string of popular hits including CASEY’S SHADOW (1977), HONEYSUCKLE ROSE (’80), ANNIE (’81), THE TOY (’82) and FRIED GREEN TOMATOES with Fannie Flagg in 1991. (Francke, p. 162). She was nominated for an Academy Award for this screenplay.

DIAL HOT LINE. By Carol Sobieski. [DRAFT SCRIPT] July 28, 1969 [with revisions on pink paper dated through to 11/10/69] 120 pp.

DIAL HOT LINE. By Carol Sobieski. [DRAFT SCRIPT] July 28, 1969 [with revisions on multicolored paper dated through to 11/26/69] 113 pp.

MRS. POLLIFAX – SPY. (Orig. THE UNEXPECTED MRS. POLLIFAX) FINAL August 22, 1969 [with revisions on blue paper dated through to 8/29/69] 119 pp. (Actress Rosalind Russell wrote and starred in this vehicle from Dorothy Gilman’s book).

PARANOIA! [Writer: Umberto Lenzi, Ugo Moretti, Marie Claire Solleville] Continuity by Julie Lev COMBINED CONTINUITY 1969 About 80 pp.

1970

MARRIAGE: YEAR ONE. Written by Stephen and Elinor Karpf . [Draft Script] June 18, 1970 121 pp.

MARRIAGE: YEAR ONE . Written by Stephen and Elinor Karpf. Rev. [Draft Script] 8/20/70 114 pp.

MARRIAGE: YEAR ONE. Written by Stephen and Elinor Karpf . Rev. [Draft Script] 10/14/70 114 pp. [Includes Shooting Schedule, about 20 pp, bound in at end.]

YOU’LL LIKE MY MOTHER. Screenplay by Jo Heims. From the Novel By Naomi A. Hintze. REVISED DRAFT August 5, 1970 113 pp.

Heims, Jo ( - )
Beginning her career in the 1960s, Heims’ PLAY MISTY FOR ME (’69) adds to an understanding of the film as a critique of masculinity according to scholar Lizzie Francke. Other notable films include THE THREAT (’60), THE FIRST TIME (’68), and BREEZY (’73). (Francke, p. 153)



1971

COWBOYS, THE. Screenplay by Irving Ravetch and Harriet Frank, Jr. [DRAFT SCRIPT] March 8, 1971 125 pp.

1973

ABDICATION, THE. Screenplay by Ruth Wolff Revised: 28th February 1973 126 pp.

ABDICATION, THE . Screenplay by Ruth Wolff Revised: 11th July 1973 [with revisions to 8/31/73] 127 pp.

CAST ME A SHADOW. Teleplay by Carol Sobieski and Carol McKeand SECOND DRAFT 18th October, 1973 99 pp.

OUR TIME [BASIC TRAINING]. Original screenplay by Jane C. Stanton FINAL Script Aug. 9, 1973 119 pp

SHE LIVES! By Elizabeth Gill Based on the novel by Paul Neimark FIRST DRAFT March 2, 1973 85 pp.

SWIFTY: THE STORY OF ADELA ROGERS ST. JOHNS. (PARTS 1 & 2). Teleplay by Anne Howard Bailey Story by Joanna Lee SECOND REVISION [ca. 1973] 119 pp.

1975

AMELIA EARHART. [Orig. AMELIA] by Carol Sobieski S. R. December 26, 1975 125 pp.

BABE: THE STORY OF BABE DIDRIKSON ZAHARIAS. [released as BABE] Written by Joanna Lee [Draft Script] March 19, 1975 101 pp.

HEY, I’M ALIVE. Written by Rita Lakin. [Draft Script] 1/22/75 87 pp.

HEY, I’M ALIVE. Written by Rita Lakin. REVISED FINAL DRAFT February, 13, 1975 93 pp.

SLAP SHOT. An original screenplay by Nancy Dowd [Draft Script] December 17, 1975 130 pp.

Dowd, Nancy
With SLAPSHOT (’77), critics often considered it “too realistically vulgar” to have been written by a woman. Dowd explores the relation between men and women in her other major works, COMING HOME (’78) and SWING SHIFT (’84). (Mc, p. 227; Francke, p. 150)

SWEET REVENGE. (Orig. ALL AMERICAN GIRL) BY B.J. Perla Revised Script by Marilyn Goldin July 23, 1975 123 pp.

1976

ALMOST SUMMER. [Orig. HIGH SCHOOL] Screenplay by Judith Berg & Sandra Berg and Martin Davidson & Marc Rubel First Draft Screenplay November 26, 1976 131 pp.

DAWN: PORTRAIT OF A TEENAGE RUNAWAY. Written by Dalene Young FINAL SHOOTING SCRIPT April 1, 1976 [with revisions on multicolor paper dated through to 4/26/76] 107 pp. [Includes SHOOTING SCHEDULE not bound in, about 14 pp.]

Young, Dalene (1939- )
Working from the mid 1970s to the mid 1980s, screenwriter Dalene Young found success with her follow up scripts LITTLE DARLINGS (’80) and CROSS CREEK (’83). (Francke, p. 164) Dalene continued her career writing prolifically for television movies through 2002 and also became a producer of many of those films. She won an Emmy in 2000.

MARY WHITE. By Caryl Ledner FINAL SHOOTING SCRIPT March 11, 1976 [with revisions on blue and pink paper dated through to 4/20/76] 94 pp.

RAGGEDY ANN & ANDY. Screenplay by Patricia Thackeray and Max Wilk [Draft Script] October 7, 1976 118 pp.

SEXTET. Play by Mae West. [Draft Script ca. 1976] About 70 pp.

SEXTETTE. [Screenplay by Herbert Baker. Play by Mae West] [Draft Script] 28 November 1976 126 pp.

SEXTETTE. [Screenplay by Herbert Baker. Play by Mae West] REVISED [Draft Script] 20 December 1976 140 pp.

1977

CHAMP, THE. By Walter Newman. From The 1931 MGM FILM by Frances Marion & Leonard Praskins [Shooting Script Draft] October 21, 1977 120 pp.

ESCAPE FROM BOGEN COUNTY. By Christopher Knopf and Judith Parker. [REVISED DRAFT SCRIPT] April, 11 1977 [with revisions on multicolor paper dated through to 4/22/77] 97 pp.

HARVEST HOME: PART ONE. By Thomas Tryon. Adapted by James and Jennifer Miller Teleplay by Jack Guss [Draft Script] August 2, 1977 119 pp.

HARVEST HOME: PART ONE . By Thomas Tryon. Adapted by James and Jennifer Miller Teleplay by Jack Guss [Draft Script] August 2, 1977 119 pp.

HARVEST HOME: PART TWO. By Thomas Tryon. Adapted by James and Jennifer Miller Teleplay by Jack Guss First Draft 7-17-77 [with revisions dated to August 8, 1977] 113 pp.

HARVEST HOME: PART TWO. By Thomas Tryon. Adapted by James and Jennifer Miller Teleplay by Jack Guss First Draft 7-17-77 [with revisions dated to August 23, 1977] 114 pp.

LOVE AFFAIR: THE ELEANOR AND LOU GEHRIG STORY. Screenplay by Blanche Hanalis . Based on the Autobiography by Eleanor Gehrig and Joe Durso Revised [Draft Script] [ca. 1977] 111 pp.

Hanalis, Blanche (1915-1992)
1960s screenwriter Blanche Hanalis found early success writing the Catholic girls school coming of age comedies THE TROUBLE WITH ANGELS (’66) and WHERE ANGELS GO TROUBLE FOLLOWS (’68). (Francke, p. 152) She went on to write many made for television movies and was nominated for an Emmy in 1978 for A LOVE AFFAIR: THE ELENOR AND LOU GEHRIG STORY.

LOVE AFFAIR: THE ELEANOR AND LOU GEHRIG STORY. Screenplay by Blanche Hanalis. Based on the Autobiography by Eleanor Gehrig and Joe Durso Revised [Draft Script] 4/5/77 98 pp.

PERFECT GENTLEMAN. By Nora Ephron. REVISED August 3, 1977 111 pp.

Ephron, Nora (1941- )
Autobiographical and romantic-comedy screen writer Nora Ephron, with over three decades of film work behind her, is the daughter of the famous screen writing team Phoebe and Harry Ephron, and former wife of Watergate investigator Carl Bernstein. Ephron began her career as a journalist for The New York Post and New York magazine, before becoming a columnist for Esquire. After writing the screenplay for PERFECT GENTLEMEN, she penned, among others, SILKWOOD (’84) with Alice Arlen, HEARTBURN (’86), COOKIE (’88), WHEN HARRY MET SALLY (’89), THIS IS MY LIFE (’90) with sister Delia Ephron, and SLEEPLESS IN SEATTLE (’93). (Mc p. 189-191, 193; Francke, p. 105, 150) Her most recent work includes writing, producing and directing, including the film version of BEWITCHED (2005) and the recent hit JULIE AND JULIA (2009). She has been nominated for three Academy Awards.

ZERO TO SIXTY. Original Screenplay by Peg Shirley and W. L. Richardson [Writer: Darren McGavin Story: Judith Bustany, Peg Shirley] FINAL DRAFT Dec. 30, 1977 120 pp.

1978

BIG WEDNESDAY. By John Milius and Dennis Aaberg. Final Draft [ca. 1978] 147 pp. [includes production publicity matter]

CARAVANS. Screenplay by Nancy Voyles Crawford and Thomas A. McMahon. FINAL DRAFT [ca. 1978] 116 pp.

FAST FRIENDS. An Original Screenplay by Sandra Harmon. REVISED FINAL DRAFT April 5, 1978 [with revisions on pink paper dated through to 4/12/78] 110 pp.

FAST FRIENDS. An Original Screenplay by Sandra Harmon. FINAL SHOOTING SCRIPT May 5, 1978 111 pp. [Includes CALL LIST, 2 pp., not bound in]

FRENCH POSTCARDS. An Original Screenplay by Willard Huyck and Gloria Katz. [Draft Script] 2/21/78 120 pp.

Katz, Gloria (c. 1945 - )
Along with husband and co-writer Willard Huyck, by the mid-1990s, Katz, an elusive screenwriter, was only one of a handful of women that were then writing scripts in Hollywood. A sample of her work includes AMERICAN GRAFFITI (’73), MESSIAH OF EVIL (’75), INDIANA JONES AND THE TEMPLE OF DOOM (’84), HOWARD THE DUCK (’86). (Mc, p. 184, 227; Francke, p. 155) She has worked as a director and producer also, her last screenplay being RADIOLAND MURDERS in 1994. She was nominated for an Academy Award for her work on AMERICAN GRAFFITI.



INCREDIBLE SHRINKING WOMAN, THE. Written by Jane Wagner First Draft Revision January 23, 1978 113 pp.

Wagner, Jane (1935- )
Comedic writing partner with actress Lily Tomlin, Jane Wagner also penned MOMENT BY MOMENT (’81). (Francke, p. 163) Jane has been nominated for and won several Emmy awards.

LOVE AFFAIR: THE ELEANOR AND LOU GEHRIG STORY, A. Screenplay by Blanche Hanalis. Based on the Autobiography by Eleanor Gehrig and Joe Durso [Draft Script ca. 1978] 111 pp.

MAIN EVENT, [THE]. Written by Gail Parent and Andrew Smith. 3rd Revised [Script] 9/21/78 129 pp.

MARY AND JOSEPH: A LOVE STORY. [Broadcast as MARY AND JOSEPH: A STORY OF FAITH] by Carmen Culver First Draft July 19, 1978 170 pp.

MOMENT BY MOMENT. By Jane Wagner. Fourth Draft April, 1978 [with revisions on blue and pink paper dated through to 4/3/78] 121 pp.

NINE TO FIVE. Written by Patricia Resnick . FIRST REVISED DRAFT December 22, 1978 140 pp.

Popular film heralding the women’s movement.

Resnick, Patricia (1953- )
Resnick’s screenwriting career spans nearly two decades. Here are some notable films under her belt: A WEDDING (’78), QUINTET (’79), NINE TO FIVE (’80), MAXIE (’85) and STRAIGHT TALK (’92). (Francke, p. 160) She started her writing career at a very young age working for the great director Robert Altman, being nominated for Writers Guild and BAFTA awards for A WEDDING. The Writers Guild also nominated her for NINE TO FIVE. Today she writes and produces the television series OLIVIA.

NORMA RAE. By Irving Ravetch and Harriet Frank. Jr. REVISED March 13, 1978 [with revisions on blue paper dating to 3/27/78] 112 pp.

A very strong script about a courageous woman which won the Academy Award for best actress to Sally Field.

ORPHAN TRAIN PART TWO Based on story by Millard Lampell and Dorthea G. Petrie Screenplay by Millard Lampell FIRST DRAFT Oct. 26, 1978 110 pp.

ORPHAN TRAIN Screenplay by Millard Lampell Based on a story by Dorothea G. Petrie and Millard Lampell SECOND DRAFT Dec. 8, 1978 164 pp.


RENDEZVOUS HOTEL. Written by Austin and Irma Kalish REVISED FINAL DRAFT April 28, 1978 123 pp.

TENTH MONTH, THE. Original Screenplay by Joan Tewkesbury From the Novel by Laura Z. Hobson THIRD DRAFT September 29, 1978 [with revisions on blue paper dating through to 10/16/78] 143 pp.

Tewkesbury, Joan (1936- )
With a career spanning over two decades Tewkesbury was one of the “key writers” to emerge in the 1970s that didn’t take an obvious feminine stance, but instead let her ideas “gently filter” into her screenplays. Some outstanding scripts include THIEVES LIKE US (’74), NASHVILLE (’75) THE TENTH MONTH (’79) and an uncredited turn at THE ACCUSED (’89). (Francke, p. 93, 162) She has been a character actress in film and television and a director of made for television movies and episodic shows. In 2009 she worked on the episodic show, playing herself, SUNDANCE DIRECTORS LAB.


WILLA. By Carmen Culver. Final Draft July 24, 1978 116 pp.

1979

CARNY. Screenplay by Thomas Baum [Story by Phoebe Kaylor, Robert Kaylor, Robbie Robertson] [DRAFT SCRIPT} March 16, 1979 [with revisions on multicolored paper dated through to 4/26/79] 128 pp. (Includes notes, typed and in an unknown hand, not bound in, with dialogue.)

CHILD STEALER, THE. Written by Sue Milburn [Draft Script ca. 1979] 116 pp.

FATSO. By Anne Bancroft [Draft Script] February, 1979 111 pp.

Bancroft, Anne (1931-2005 )
Popular and beloved Academy Award winning actress, Bancroft had her one outing in the writing and directing arena with this thoughtful comedy. The message was to love yourself, not matter your body size.

INCREDIBLE SHRINKING WOMAN, THE. By Jane Wagner and Joel Schumacher Revised First Draft May 31, 1979 121 pp.

INCREDIBLE SHRINKING WOMAN, THE. By Jane Wagner and Joel Schumacher SECOND DRAFT July 23, 1979 [with revisions on pink paper dated 7/24/79]
117 pp.

IT’S MY TURN. (Orig. A PERFECT CIRCLE) By Eleanor Bergstein [Draft Script] November, 1979 123 pp.

IT’S MY TURN. (Orig. A PERFECT CIRCLE) By Eleanor Bergstein [Draft Script] November, 1979 [with revisions on blue and pink paper dated through to 12/19/79] 123 pp.

MIRROR, MIRROR. By Leah Appet, Charles Dennis and Joanna Lee Story by Leah Appet REVISED FINAL March 1, 1979 103 pp.

MIRROR, MIRROR. By Leah Appet and Charles Dennis Story by Leah Appet REVISED FINAL March 1, 1979 [with revisions on blue and pink paper dated through to 4/20/79] 103 pp.

OH GOD! BOOK TWO. (Orig. OH, GOD! OH, GOD!) by Josh Greenfeld [Writer: Fred S. Fox, Hal Goldman, Seaman Jacobs, Melissa Miller Story: Josh Greenfeld from the Novel, “OH, GOD!” by Avery Corman] REVISED FINAL SCRIPT November 15, 1979 117 pp.

PRIVATE BENJAMIN. An Original Screenplay by Nancy Meyers & Charles Shyer & Harvey Miller REVISED FOURTH SCRIPT November 28, 1979 151 pp.

Meyers, Nancy (1949- )
Meyers’ career begins strong with this entry in the catalog. However, her work is heavily criticized by scholar Lizzie Francke who notes that Meyers shifted from “sharp female protagonists” to “forgettable and insipid characters” in attempt to “chip away” at the concurrent rise of the blockbuster. Notable screenplays include PROTOCOL and IRRECONCILABLE DIFFERENCES (’84), BABYBOOM (’87) and FATHER OF THE BRIDE (’91). (Francke, p. 103, 158). Nancy is still a huge player in today’s Hollywood films. She started in the studio development area in the late 1970’s and graduated to screen writer with husband Charles Shyer. She is now also one of the most powerful female directors in the business. Her hits as director/writer include THE PARENT TRAP (’98), THE HOLIDAY (2006) and IT’S COMPLICATED (2009). She was nominated for an Academy Award for her very first screenplay credit in 1980, for PRIVATE BENJAMIN.

SLOW DANCING IN THE BIG CITY. By Barra Grant. [Draft Script] [ca. 1979] 116 pp.

VALENTINE. By Merrit Malloy & Lee Phillips. Based on the novel by Merrit Malloy [ca. 1979] 126 pp.

HIGH MIDNIGHT. Participating Writers: Michael Montgomery, Kathryn Montgomery, Leigh Vance, Christopher Crowe Rev. [Draft Script] 7/19/79 About 120 pp. (Includes SHOOTING SCHEDULES, CALL SHEETS, notes in unknown hand, not bound in.)

1980

BABYSITTER, THE. By Jennifer Miller SHOOTING SCRIPT May 12, 1980 99 pp.

ENDLESS LOVE. Screenplay by Judith Rascoe REVISED DRAFT July 21, 1980 126 pp.

Rascoe, Judith (1941- )
F 159ƒ (’74-’90); represents that women don’t have to just write about women’s subjects, in HAVANA she made a historic epic (directed by Sydney Pollack)
Mc 215 – comes with an academic pedigree, completed her PhD coursework at Harvard before coming to LA, started by writing magazine articles. Her earlier work includes the screenplay adaption of James Joyce novel A PORTRAIT OF A YOUNG MAN (’77) and the Vietnam War crime, action, thriller WHO’LL STOP THE RAIN (’78).


FREEDOM. Screenplay by Barbara Turner . REVISED WORKING DRAFT August 15, 1980 117 pp.

GOLDIE AND THE BOXER GO TO HOLLYWOOD. By Mel and Ethel Brez and Lew Hunter REV. FINAL DRAFT November 10, 1980 135 pp.

IT’S MY TURN. (Orig. A PERFECT CIRCLE) By Eleanor Bergstein FINAL DRAFT January 10, 1980 [with revisions on blue paper dated 1/15/80] 114 pp.

MY KIND OF GUY. By Amy Heckerling FINAL DRAFT June 2, 1980 [with revisions on blue paper dated to 9/3/80] 125 pp.

Heckerling, Amy (1954- )
Contemporary screenwriter Amy Heckerling knows the teen scene with her breakout hit FAST TIMES AT RIDGEMONT HIGH and CLUELESS. In the last three decades Heckerling has also penned these notable films: GETTING IT OVER WITH (’77), LOOK WHO’S TALKING (’90), LOOK WHO’S TALKING TOO (’91). (Francke, p. 153). Heckerling has been one of the strong women of the film industry for the past 25 years. She is a highly respected writer, producer and director. More recently she has written, produced and directed the television series CLUELESS, written and directed the film I COULD NEVER BE YOUR WOMAN (2007) and has a new film in pre-production called VAMPS.

THEY’RE PLAYING OUR TAPE. By Elliot Shoenman, Karyl Miller & Joanna Lee Story by Elliot Shoenman SECOND REVISED FINAL DRAFT February 7, 1980 121 pp.

INSIDE MOVES. Screenplay by Valerie Curtin, Barry Levinson FIRST DRAFT/SECOND REVISION December 28, 1979 [with revisions on multicolor paper dated through to 1/30/80] 139 pp.

Curtin, Valerie (1945- )
Writing in collaboration for three decades, screenwriter Curtin’s notable film are …AND JUSTICE FOR ALL (’79), BEST FRIENDS (’82), UNFAITHFULLY YOURS (’84), and TOYS (’92). (Francke, p. 149) Valerie was a successful television actress, starting in 1976 with the episodic HAPPY DAYS and continuing through 2006. Much of her writing has been with one time husband writer, director, producer Barry Levinson. She was nominated for an Academy Award for her screenplay … AND JUSTICE FOR ALL.

NINE TO FIVE. [Screenplay by Patricia Resnick, Colin Higgins. Story by Patricia Resnick] FINAL DRAFT by Colin Higgins December 12, 1979 [with revisions on pink and blue paper dated to 2/27/80 127 pp.

1981

DEADLINE. By Sue Milburn. FINAL DRAFT April 28, 1981 83 pp.

EDDIE AND THE CRUISERS. Ascreenplay by Martin Davidson and Arlene Davidson. [Draft Script] November 10, 1981 125 pp.

FORTY DAYS FOR DANNY. By Jennifer Miller. FOURTH DRAFT October 22, 1981 108 pp.

MARRIAGE OF INCONVENIENCE, A . (aka MILES APART) by Susan Silver . FIRST DRAFT September 29, 1981 119 pp.

MELTING POT, THE. By James D. Houston and Jeanne Watsuki Houston. FIRST DRAFT February 18, 1981 116 pp.

PROFILE OF A PROSTITUTE. By Mary Pleshette Willis. SECOND DRAFT February 25, 1981 [with revisions on blue paper dated through to 5/21/81] 113 pp.

SECOND THOUGHTS. Screenplay by Steve Brown. From a Story by Steve Brown and Terry Louise Fisher THIRD REVISED – FINAL [ca. 1981 with revisions on blue paper dated to 9/8/81] 120 pp.

SECOND THOUGHTS. Screenplay by Steve Brown. From a Story by Steve Brown and Terry Louise Fisher FOURTH REVISED – FINAL [ca. 1981 with revisions on multicolored and pink paper dated through to 10/23/81] 120 pp.

WILL THERE REALLY BE A MORNING? by Dalene Young 3-HOUR VERSION [Draft Script] November 25, 1981 176 pp. (with revisions/annotations in ink in an unknown hand)

WITHOUT A TRACE. (Orig. STILL MISSING) Screenplay by Beth Gutcheon SECOND DRAFT October 12, 1981 143 pp.

YOUNG LUST. An original screenplay by Robin Menken and Bruce Wagner. FINAL DRAFT April 21, 1981 [with revisions on blue paper dated through to 5/6/81] 121 pp.

1982

BEST FRIENDS [Writers Valerie Curtin, Barry Levinson] UNDATED DRAFT with revision pages dated 1/26/82 144 pp.


BUDDY SYSTEM, THE. Mary Agnes Donoghue. SECOND DRAFT April 24, 1982 135 pp.

Donoghue, Mary Agnes ( Unknown )
Donoghue, author of BEACHES (’88), finds writing about women’s experiences more comfortable. Discussing the criticism she received for writing the oversweet tale of two women, Donoghue worries that studios and producers often confuse the emotional with the sentimental, and this editorial manipulation affects the writing. Donoghue also wrote DECIEVED (’91), and PARADISE (’92). (Francke, p. 104, 150)

BUDDY SYSTEM, THE. Mary Agnes Donoghue. FINAL SHOOTING SCRIPT May 26, 1982 [with revisions on pink and white paper dated through to 6/9/82] 146 pp.

BUDDY SYSTEM, THE . Mary Agnes Donoghue. REVISED SHOOTING FINAL July 2, 1982 About 142 pp. [includes Appendix bound in at end]

CHOICE OF WEAPONS . Written by Bobby Roth and Beth Sullivan. Spec. Run March 9, 1982 119 pp.

GAMES MOTHER NEVER TAUGHT YOU. Written by Liz Coe. Revisions by Walter Davis. FINAL DRAFT May 19, 1982 110 pp.

LIFE OF THE PARTY: THE STORY OF BEATRICE .[Orig. BEATRICE] Written by Mitzie Welch. Revised Final Draft January 21, 1982 114 pp. [includes CALL SHEET and PARKING STUB for Frances Neely]

MAN WHO LOVED WOMEN, THE. By Blake Edwards, Geoffrey Edwards . [Milton Wexler First Story: Michel Fermaud, Suzanne Schiffman, François Truffaut] FINAL DRAFT October 1982 [with revisions on blue paper dated to 11/2/82] 121 pp.

PACKIN’ IT IN. By Patricia Jones and Donald Reiker. SHOOTING SCRIPT August 3, 1982 [with revisions on multicolored paper dating through to 8/17/82] 124 pp.

ROSIE: THE ROSEMARY CLOONEY STORY. Written by Katherine Coker Revised [Draft Script] April 14, 1982 94 pp.

SILKWOOD. By Nora Ephron and Alice Arlen Shooting Script July 8, 1982 127 pp.

Arlen, Alice ( unknown)
Writing in collaboration with Nora Ephron brought much attention to 1980s screenwriter Alice Arlen. After ALAMO BAY in 1985, Arlen teamed up again with Ephron for the film COOKIE (’89). (Mc, p. 192, 195; Francke, p. 146) Her most recent credit is for screenplay on THEN SHE FOUND ME (2007). She was nominated for an Academy Award in 1983 for SILKWOOD.

THORN BIRDS, THE . (Theatrical Version) by Carmen Culver Based on the novel by Colleen McCullough REVISED FIRST DRAFT June 24, 1982 142 pp.

THORN BIRDS, THE: SHOW ONE. by Carmen Culver Based on the novel by Colleen McCullough SECOND REVISED DRAFT March 8, 1982 [with revisions on multicolored paper dating through to 6/7/82] 169 pp.

UNDERCOVER. A screenplay by Miranda Downes Fifth Draft September 1982 123 pp.

WILL THERE REALLY BE A MORNING? By Dalene Young. PRODUCTION REVISION 3-HOUR VERSION February 4, 1982 175 pp.

WITHOUT A TRACE . (Orig. STILL MISSING) Screenplay by Beth Gutcheon. FIFTH DRAFT February 23, 1982 [with revisions on multicolored paper dated through to 4/2/82] 131 pp.

YOUR PLACE OR MINE. By Terry Louise Fisher and Steve Brown FINAL DRAFT May 10, 1982 103 pp.

1983

AMERICAN DREAMER. [Story by Ann Biderman Draft Script] February 16, 1983 123 pp.

AMERICAN DREAMER. [Story by Ann Biderman] FINAL SHOOTING SCRIPT August 31, 1983 118 pp.

MASK: THE TRUE STORY OF ROCKY DENNIS. By Anna Hamilton-Phelan FIRST DRAFT [ca. 1983] 107 pp.

Phelan, Anne Hamilton (Unknown)
Screenwriter Phelan brings two riveting true stories to the screen in the 1980s with MASK (’85) and GORILLAS IN THE MIST (’88). (Francke, p. 159) In 1999 she wrote the screenplay for GIRL INTERUPTED and her most recent credit is as writer on AMELIA (2009), the story of Ameila Earhart. She was nominated for her screenplay for GORILLAS IN THE MIST.

MASK . Screenplay by Anna Hamilton-Phelan Revised First Draft December 6, 1983 141 pp.

MAXIE. (Orig. FREE SPIRIT) Screenplay by Patricia Resnick Adapted by Paul Aaron and Patricia Resnick From a Novel by Jack Finney SECOND REV. DRAFT August 18, 1983 122 pp.

MR. MOM. By Stepanie Garman & Hollacve White EIGHTH DRAFT SECOND REVISIONS January 10, 1983 118 pp.

MY WICKED, WICKED WAYS: THE LEGEND OF ERROL FLYNN. By Doris Keating, Jill Trump, James Lee, Don Taylor [Shooting Script] September 30, 1983 173 pp.

SWING SHIFT. [Written by Nancy Dowd] Ron Nyswaner Polish [Revised Draft Script] October 1, 1982 [with revisions on multicolor paper dated through to 4/20/83] 124 pp.



1984

HEAD OFFICE. By Ken Finkleman and Marilyn Suzanne Miller REVISED [Draft Script] June 20, 1984 [with revisions on multicolor paper dated through to 10/8/84] 125 pp.

HEARTSOUNDS. Screenplay by Fay Kanin [Revised Draft Script] FEBRUARY 20, 1984 [with revisions dated through to 3/20/84] 113 pp.

LOVE LIVES ON. Written by April Smith. FIRST DRAFT October 3, 1984 110 pp.

MALICE IN WONDERLAND: THE HOLLYWOOD SAGA OF HEDDA HOPPER AND LOUELLA PARSONS. By David Seidler and Jacqueline Feather REVISED SECOND DRAFT October 25, 1984 110 pp.

MALICE IN WONDERLAND: THE HOLLYWOOD SAGA OF HEDDA HOPPER AND LOUELLA PARSONS. By David Seidler and Jacqueline Feather REVISED SECOND DRAFT December 18, 1984 112 pp.

MASK . Screenplay by Anna Hamilton-Phelan Revised Second Draft April 5, 1984 132 pp.

MASK . Screenplay by Anna Hamilton-Phelan Revised Third Draft April 19, 1984 111 pp.

PROTOCOL. Screenplay by Buck Henry [Story: Nancy Meyers, Harvey Miller, Charles Shyer] 2ND REVISED DRAFT March 14, 1984 [with revisions on multicolored paper dated through to 4/11/84] 120 pp.

SHY PEOPLE. By Gerard Brach, Andrei Konchalovsky and Marjorie David REVISED SECOND DRAFT September 24, 1984 135 pp.

SINS OF THE FATHER . Written by Elizabeth Gill. REVISED 2ND DRAFT September 10, 1984 116 pp.

GIRLS JUST WANT TO HAVE FUN. by Amy Spies and Janis Hirsch Polish {Draft Revision] [Revisions on pink and blue paper dated to 8/27/84] 93 pp.

1985

HOWARD THE DUCK . Screenplay by Willard Huyck and Gloria Katz SHOOTING SCRIPT August 21, 1985

IF TOMORROW COMES: SHOW TWO. By Carmen Culver [REVISED DRAFT] May 23, 1985 [with revisions on multicolor paper dated through to 7/29/85] 107 pp.

IF TOMORROW COMES: SHOW THREE. By Carmen Culver FINAL DRAFT June 12, 1985 [with revisions on blue and pink paper dated through to 7/29/85] 96 pp.

LETTER TO THREE WIVES, A. By Sally Robinson FINAL DRAFT February 28, 1985 [with revisions on multicolored paper dated through to May 15, 1985 115 pp.

MAKING MR. RIGHT. By Floyd Byars and Laurie Frank Revised Draft November, 1985 118 pp.

‘NIGHT, MOTHER. By Marsha Norman. Final Draft Screenplay Dec. 3, 1985 107 pp.

‘NIGHT, MOTHER. By Marsha Norman. Final Draft Screenplay Dec. 3, 1985 [with revisions on pink paper dated to 1/2/86] 107 pp.

UNDER THE INFLUENCE . (Orig. ADULT CHILDREN OF ALCOHOLICS) by Joyce Rebeta Burditt REVISION [Draft Script] October 21, 1985 [with revisions on multicolored paper dating through to 10/25/85] 121 pp.

MURPHY’S LAW. By Gail Morgan Hickman 6th DRAFT 10/26/85 [with revisions on blue paper dated through to 10/30/85] 109 pp.

1986

ACCUSED, THE . By Joan Tewkesbury and Tom Topor REVISED SECOND DRAFT March 1986 128 pp.

ANNA. By Agnieszka Holland [Draft Screenplay] March 25, 1986 107 pp.

CONVICTED: A MOTHER’S STORY. Written by Ellen Kesand REVISED FINAL DRAFT October 17, 1986 [with revisions on multicolored paper dated through to 10/28/86] 106 pp.

CROSS MY HEART. [orig. AN AMERICAN DATE] Written by Armyan Bernstein and Gail Parent REVISED FINAL DRAFT SCREENPLAY December 1, 1986 84 pp.

DOWN TWISTED. Screenplay by Gene O Neill and Noreen Tobin Second Draft April 24, 1986 [with revisions on multicolored paper, undated] 105 pp.

DOWN TWISTED. Screenplay by Gene O Neill and Noreen Tobin Second Draft April 26, 1986 113 pp.

EARTH GIRLS ARE EASY. By Julie Brown, Charlie Coffey, Terrance McNally REVISED DRAFT October 23, 1986 99 pp. [Includes 3 page Appendix for the song: “’CAUSE I’M A BLONDE”.]

LOVE 40. An Original Teleplay by Susan Rice REVISED May, 1986 [with revisions on multicolored paper dated through to 6/13/86] 115 pp.

MAID TO ORDER. By Amy Jones and Randy and Perry Howse Revised Draft July 17, 1986 116 pp.

NUMBER ONE WITH A BULLET [Story by Gail Morgan Hickman] Revised by Susan Hoffman, Robert Gosnell and Jack Smight Feb. 24, 1986 116 pp.

PENALTY PHASE, THE. Original Screenplay by Gale Patrick Hickman SECOND REVISED DRAFT May 26, 1986 116 pp.

PLEASURES. By Jill Gordon REVISED SECOND DRAFT January 1, 1986 101 pp.

GISELLE . Screenplay by Sarah Kernochan. SECOND DRAFT REVISED 9/23/86 63 pp.

Kernochan, Sarah (1947- )
Late-20th century screenwriter Sarah Kernochan’s work segued in the course of a decade from art house to women’s film: 9 ½ WEEKS (’86) and SOMMERSBY ( ’93). (Francke, pp. 139, 155) Though her credits are few, she has twice won the Academy Award, for 1972 with best documentary feature, MARJOE and again in 2002 for best documentary short, THOTH.

SHY PEOPLE. By Gerard Brach, Andrei Konchalovsky and Marjorie David REVISED SECOND DRAFT September 24, 1984 [Rev. 9/25/86] 139 pp.

SHY PEOPLE . By Gerard Brach, Andrei Konchalovsky and Marjorie David FINAL DRAFT September 24, 1984 [with revisions on multicolored paper dated through to 12/4/86] 139 pp.

STRANGER IN MY BED. By Audrey Davis Levin Revised Draft 4/22/86 109 pp.

1987

BIG. Screenplay by Gary Ross and Anne Spielberg 7/2/87 [with revisions on blue and pink paper through to 7/31/87 131 pp. [includes loose redacted pages]

BOURNE IDENTITY, THE: PART ONE. Teleplay by Carol Sobieski REVISED DRAFT October 16, 1987 [with revisions on multicolor paper dated through to 11/30/87 115 pp.

BOURNE IDENTITY, THE: PART TWO. Teleplay by Carol Sobieski REVISED DRAFT November 30, 1987 97 pp.

CASUAL SEX. By Wendy Goldman and Judy Toll Shooting Script April 9, 1987 [with revisions on white paper dated May 7, 1987] 115 pp.

COOKIE. By Nora Ephron and Alice Arlen. Draft October 1987 112 pp.

COOKIE. By Nora Ephron and Alice Arlen. Draft November 1987 117 pp.

DEADLINE. Story by Karen Harris & Pamela de Maigret Teleplay by Karen Harris Rev.[ised Draft Script] 3/10/87 131 pp.

DEATH WISH IV. By Gail Morgan Hickman REVISED [DRAFT] 1/7/87 119 pp.

LET IT RIDE. By Nancy Dowd Second Draft 7/22/87 134 pp.

MISTS OF AVALON, THE. Rita Mae Brown. First Draft 22 January 1987 246 pp.

Brown, Rita Mae (1944- )
Before novelist Rita Mae Brown wrote the adaptation to THE MISTS OF AVALON, she wrote THE SLUMBER PARTY MASSACRE (’82). (Franke, p. 147) The bulk of her work has been as writer of television movies.

OVERBOARD [By Leslie Dixon] Undated DRAFT with paper work from March 25, 1987 148 pp.

OVERBOARD By Leslie Dixon REVISED FINAL DRAFT March 31, 1987 112 pp.

STANLEY AND IRIS. (aka UNION STREET) by Harriet Frank, Jr. and Irving Ravetch From the novel “Union Street” by Pat Barker SECOND REVISED DRAFT August 17, 1987 119 pp.

1988

BACKTRACK . [Screenplay by Rachel Kronstadt-Mann, Stephen L. Cotler, Lanny Cotler, Alex Cox & Tod Davies] ca. 1988

FINE ROMANCE, A. By Peachy Markowitz [Draft Script] March 6, 1988 88 pp.

LET IT RIDE. By Nancy Dowd [Draft Script] ca. 1988 131 pp.

LET IT RIDE. By Nancy Dowd [REVISED DRAFT SCRIPT] 8/19/88 [with revisions on multicolored paper dated through to 10/15/88 119 pp.

LET IT RIDE. By Nancy Dowd REVISED 8/28/88 122 pp.

MAN IN THE BROWN SUIT, THE. By Carla Jean Wagner based on the book by Agatha Christie REV. FOURTH DRAFT June 10, 1988 [with revisions on multicolored paper dated through to 6/28/88] 108 pp.

MY BLUE HEAVEN. Written by Nora Ephron. FIRST DRAFT August 30, 1988 126 pp.

MY BLUE HEAVEN. Written by Nora Ephron. REVISED FIRST DRAFT November 4, 1988 137 pp.

ROAD HOUSE. Written by Hilary Henkin Based on material by R. Lance Hill Revisions by Ira and Harriet Weiner Rev. Draft Script April 12, 1988 [with revisions dated to 4/18/88] 116 pp.

Henkin, Hilary (1962- )
Henkin’s screenwriting style is bombastic and in direct contrast with the emotionally saccharine studio fare that women post-70s were writing. Working since the early 1980s “Henkin makes a specialty of gritty stylized pieces.” Henkin offers this glimpse: “that excessiveness is what I find intriguing.” And with Henkin, the more violence on the screen, the better. “Violence and revenge are classic dramatic motifs” in such fare as FATAL BEAUTY (’87), ROADHOUSE (’88) and ROMEO IS BLEEDING (’94). (Francke, pp. 120-1, 122, 153) She was nominated for an Academy Award for the 1997 screenplay WAG THE DOG.

TARZAN IN MANHATTAN. Written by Anna Sandor and William Gough Concept by Max Keller [Draft Script] November 23, 1988 111 pp.

WINNIE. Teleplay by Joyce Eliason From the book by Jamie Pastor Bolnick POLISH March 9, 1988 [with revisions on multicolored paper dated through to 3/30/88] 124 pp.

WORTH WINNING. Written by Josann McGibbon, Sara Parriott FIRST DRAFT March 1, 1988 [with revisions on multicolored paper dating through to 5/13/88] 112 pp.

WHEN HARRY MET SALLY. (Orig. HARRY, THIS IS SALLY) Original Screenplay by Nora Ephron, Rob Reiner, Andrew Scheinman Revised [Draft Script ] 8/4/88 122 pp.

One of the top romantic comedies of the 1980s.

1989

CLASS ACTION. By Carolyn Shelby & Christopher Ames and Samantha Shad [DRAFT SCRIPT] April 27, 1989 115 pp.

LET IT RIDE. [By Nancy Dowd] w/revisions of MAR 1989 by Richard Weiss REVISED [ca. 1989] 149 pp.

MERMAIDS. Written by June Roberts Adapted from the Novel by Patty Dann Final Draft August 25, 1989 [with revisions on multicolored paper dated through to 11-8-89] 107 pp.

Roberts, June (unknown)
Late 1980s screenwriter June Roberts forte, according to scholar Francke, are romantic comedies and domestic dramas, such as MERMAIDS (’90). (Francke, pp. 100, 160)

MY BLUE HEAVEN. Written by Nora Ephron SHOOTING SCRIPT September 25, 1989 [with revisions on blue and pink paper dated through to 9/29/89] 132 pp.

O’KEEFE. By Ann Biderman [Draft Script] December 1989 146 pp.

SORRY, WRONG NUMBER. Written by Ann Louise Bardach Based on the Screenplay of Lucille Fletcher FINAL DRAFT June 8, 1989 113 pp.
F 151 Lucille Fletcher scripted in 1948

TAKING CARE OF BUSINESS. (Orig. FILOFAX) A Screenplay by Jill Mazursky & Jeffrey Abrams REVISED THIRD DRAFT June 9, 1989 120 pp.

TAKING CARE OF BUSINESS . (Orig. FILOFAX) A Screenplay by Jill Mazursky & Jeffrey Abrams FOURTH DRAFT October, Friday the 13th, 1989 130 pp.

TAKING CARE OF BUSINESS. (Orig. FILOFAX) A Screenplay by Jill Mazursky & Jeffrey Abrams SHOOTING DRAFT October 29, 1989 [with revisions on multicolored paper dating through to 11/13/89] 123 pp.

TAKING CARE OF BUSINESS. (Orig. FILOFAX) A Screenplay by Jill Mazursky & Jeffrey Abrams SHOOTING DRAFT October 29, 1989 [with revisions on multicolored paper dating through to 12/9/89] 123 pp.

TURTLE BEACH. Screenplay by Ann Turner 2ND Draft July 1989 111 pp.

UNDER THE LAW: THE TRACEY THURMAN STORY. Written by Beth Sullivan REVISED SECOND DRAFT March 24, 1989 112 pp.

UNDER THE LAW: THE TRACEY THURMAN STORY. Written by Beth Sullivan SECOND DRAFT February 22, 1989 113 pp.

WHERE THE HEART IS. (aka GETTING READY) by Telsche Boorman and John Boorman 7th Draft February 1989 [with revisions on multicolored paper dated through to 5/1/89] 107 pp.

MY BOYFRIEND’S BACK. An original script by Lindsay Harrison 5/5/89 108 pp.

LISA. (Working Title) Written by Gary Sherman & Karen Clark REVISED 5-30-89 112 pp.

1990

ANGEL OF DEATH. By Paul & Sharon Boorstin. REVISED FIRST DRAFT March 30, 1990 [includes press clippings attached with cellophane tape] 110 pp.

BORN TO RIDE. (Orig. THE RECRUIT) Written by Michael Partridge & Janice Hickey. FINAL DRAFT June 21, 1990 115 pp.

BORN TO RIDE . (Orig. THE RECRUIT) Written by Michael Partridge & Janice Hickey. REVISED [FINAL] DRAFT February 1, 1990 117 pp.

CONAGHER. Screenplay by Jeffrey M. Meyer, Sam Elliott, Katherine Ross FINAL DRAFT May 10, 1990 116 pp.

FOR THE BOYS. By Marshall Brickman [Screenplay by Neal Jimenez & Lindy Laub] DRAFT SCRIPT August 29, 1990 118 pp.

HAND THAT ROCKS THE CRADLE, THE. By Amanda Silver. THIRD DRAFT REVISIONS September 27, 1990 123 pp.

Silver, Amanda ( - )
1990s screenwriter Amanda Silver began writing THE HAND THAT ROCKS THE CRADLE (’91) as part of her USC thesis program. Francke notes that HAND “marks the first time that two women meet as hero and villain.” She continues that much of its success stems from taking the formulaic “interloper who threatens a family” trope, rejigging it with a touch of gender swapping. (Francke, pp. 133, 161) More recently she has been a producer and actress on the film LOVE SHACK (2009).

LAST SUMMER AT BLUEFISH COVE. Screenplay by Camilla Carr and Edward Anhalt ca. 1990 138 pp. [Based on the play by Jane Chambers. Never produced.]

LENA’S HOLIDAY. Written by Deborah Tilton and Michael Keusch Final Draft May 1, 1990 105 pp.

LIVING A LIE. (aka TIES THAT BIND) Written by Dalene Young Story by Sharon Bernhardt, Lisa Freistat and Dalene Young SECOND DRAFT REVISED December 19, 1990 113 pp.

LOVE YOU TO DEATH: NIGHT ONE . Written by Danielle Hill FINAL DRAFT November 21, 1990 92 pp.

LOVE YOU TO DEATH: NIGHT ONE. Written by Danielle Hill FINAL DRAFT November 21, 1990 90 pp.

LUCKY: PART I. Written for television by Jackie Collins SECOND DRAFT April 9, 1990 102 pp.

LUCKY: PART II. Written for television by Jackie Collins SECOND DRAFT April 9, 1990 96 pp.

MAN IN THE MOON, THE. By Jenny Harwell Third Draft March 6, 1990 109 pp.

MATTERS OF THE HEART. By Linda Bergman and Martin Tahse Based on the Novel COUNTRY OF THE HEART by Barbara Wersba REVISED SHOOTING SCRIPT July 28, 1990 [ 105 pp.

ONCE AROUND. By Malia Scotch Marmo [Draft Script] January 10, 1990 105 pp.

PIED PIPER, THE. By Robin Swicord FIRST DRAFT March 10, 1990 86 pp.

POTOMAC FEVER. Written by Janice Hickey & Michael Pardridge SECOND DRAFT January 17, 1990 106 pp.

POTOMAC FEVER. Written by Janice Hickey & Michael Pardridge BLUE SHOOTING SCRIPT 2/14/90 102 pp.

PROMISE TO KEEP, A. Written by Susan Cooper and Carlton Cuse based on the memoir by Jane Yarmolinsky THIRD DRAFT June 20, 1990 105 pp.

SIBLING RIVALRY. An original screenplay by Martha Goldhirsh [Draft Script] January 22, 1990 115 pp.

SIBLING RIVALRY. An original screenplay by Martha Goldhirsh [Draft Script] March 23, 1990 111 pp.

THIS IS MY LIFE. (Orig. THIS IS YOUR LIFE) Screenplay by Nora Ephron & Delia Ephron based on the novel by Meg Wolitzer October 29, 1990 123 pp.

THREE MEN AND A LITTLE LADY . By Josann McGibbon & Sara Parriott Revisions by Charlie Peters March 30, 1990 [with revisions on multicolored paper dated through to 4/17/90] 118 pp.

UFO CAFÉ. By Blair Ferguson [Draft Script] May 18, 1990 [with revisions on blue paper dated to 5/31/90 117 pp.

ADDAMS FAMILY, THE. By Larry Wilson and Caroline Thompson First Draft Revisions 6/7/90 124 pp.

Thompson, Caroline (1956- )
After getting her big break with Penelope Spheeris on an aborted project FIRSTBORN in the mid-1980s, screenwriter Caroline Thompson wrote a string of popular films in which she considers men to more “metaphor “ than distinct character. Besides the title in this entry Thompson is known for these films as well: EDWARD SCISSORHANDS ( ’90), THE SECRET GARDEN (’92) and BLACK BEAUTY (’94). (Mc, p. 228; Francke, p. 110, 162) She has worked on several films with Tim Burton, including THE NIGHTMARE BEFORE CHRISTMAS (’93) and CORPSE BRIDE (2005). Her most recent completed work is CITY OF EMBER (2008) and she has several projects currently in development.

FAVOR, THE. By Sara Parriott & Josann McGibbon REVISED [Draft Script] 7/31/90 [with revisions on multicolored paper dated through to 9/4/90 104 pp.

GAS – FOOD – LODGING . A Screenplay by Allison Anders FIRST DRAFT 10/10/90 124 pp.

GAS – FOOD – LODGING. A Screenplay by Allison Anders SECOND DRAFT 11/26/90 124 pp.

LOOK WHO’S TALKING TOO. By Amy Heckerling and Neal Israel DRAFT FOUR 6/6/90 118 pp.

MANNEQUIN TWO: ON THE MOVE. (Orig. MANNEQUIN ON THE MOVE) Screenplay by Ed Rugoff First Revisions by Ken Levine and David Issacs Second Revisions by Betsy Israel Final Script 2/20/90 105 pp.

POINT BREAK. (Orig. RIDERS ON THE STORM) by James Cameron & Kathryn Bigelow from the screenplay by W. Peter Iliff story by Rick King & W. Peter Iliff SHOOTING SCRIPT 7/1/90 121 pp.



Bigelow, Kathryn (1951- )
Considered to be one of the few contemporary writers that consistently take a fresh approach to writing, writer/director and graduate of New York University’s Graduate Program in Film, Kathryn Bigelow’s characters often reexamine themselves against societal restraints in viscerally charged approaches to cinema. Some of Bigelow’s fare includes THE LOVELESS (’81), NEAR DARK (’87), and BLUE STEEL (’90). (Francke, pp. 126, 147; Mc, p. 214) Bigelow is one of the few strong female directors in Hollywood. She started directing films in 1978 and most recently directed and produced the film THE HURT LOCKER (2008).

POTOMAC FEVER. Written by Janice Hickey & Michael Pardridge. BLUE SHOOTING SCRIPT 2/14/90 102 pp.



1991

FATHER OF THE BRIDE. By Nancy Meyers and Charles Shyer REVISED DRAFT March 21, 1991 115 pp.

FRIED GREEN TOMATOES. [Orig. FRIED GREEN TOMATOES AT THE WHISTLE STOP CAFÉ] Screenplay by: Fannie Flagg, Jon Avnet Based on the Novel by Fannie Flagg [Draft Script] April 11, 1991 113 pp.

Important film with explored the friendship between two women, with lesbian overtones to the story.

HERO. [Orig. A HERO AND A HALF] a screenplay by David Webb Peoples from a story by Alvin Sargent, Laura Ziskin, and David Peoples THRID DRAFT April 21, 1991 128 pp.

IMAGINARY CRIMES. By Kristine Johnson and Davia Lee Nelson From the novel “Imaginary Crimes” by Sheila Ballantyne [Draft Script] February 6, 1991 116 pp.

MY GIRL . (Orig. I AM WOMAN) by Laurice Elehwany [DRAFT SCRIPT] [ca. 1991] 106 pp.

Elehwany, Laurice (unknown)
Critic Lizzie Francke considers Laurice Elehwany’s MY GIRL (’91) to be representative of the renewed interest in women’s real experiences, as opposed to the industry’s preference for the saccharine, in this coming of age story. (Francke, p. 101, 150)

POSING. By Cathleen Young revised by Beth Sullivan SECOND DRAFT May 24, 1991 108 pp.

TAKING BACK MY LIFE: THE NANCY ZIEGENMEYER STORY. (Orig. RAPE OF NANCY ZIEGENMEYER) Written by April Smith FIFTH DRAFT August 14, 1991 107 pp.

SECRETS. By Judith Krantz [Story Treatment] April 16, 1991 42 pp.

SINATRA: PART TWO. Written by William Mastrosimone Rewritten by Cynthia Whitcomb WHITCOMB POLISH July 15, 1991 106 pp.

BATTLING FOR BABY. [aka SPOILED ROTTEN] Teleplay by Nancey Silvers First Draft Rewrite [with revisions through to 10/28/91] 102 pp.

BEETHOVEN. Revisions by Amy Holden Jones Rev. 4/9/91 (F.R.) 304 pp.

Jones, Amy Holden (unknown)
Francke considers Jones’ work in the 1980s and 90s to be traditionally romantic, but with a twist. In INDECENT PROPOSAL (’93), Jones serves up the romance as an “erotic thriller”, while in LOVE LETTERS (’85) she plays ironically with the conventions of a “women’s movie.” Other work, in this period, includes MAID TO ORDER (’87), MYSTIC PIZZA (’88) and THE GETAWAY (’94). (Francke, pp. 138, 155) A consummate film maker, she started her career as assistant to the director on TAXI DRIVER (’76). She has worked as a producer, editor, writer and director.

BEETHOVEN. Revisions by Amy Holden Jones 2nd Rev. 4/30/91 (F.R.) 304 pp.

CHRISTMAS IN CONNECTICUT. By Janet Brownell Third Draft 9/30/91 105 pp.

1992

BLINK. By Dana Stevens [Draft Script] December 7, 1992 117 pp.

BODY OF EVIDENCE. Revisions by Alison Cross REVISED: March 3, 1992 [with revisions through to April 4, 1992] 119 pp.

CONSPIRACY OF SILENCE: THE SHARI KARNEY STORY. (released as SHATTERED TRUST: THE SHARI KARNEY STORY). Written by Susan Nanus Polish August 1992 112 pp.

CREATURE, THE KID AND MARGARET, THE. Teleplay by Peter Silverman Based on a treatment by Margaret Gibson The Polish [DRAFT SCRIPT] March 5, 1992 110 pp.

DANGEROUS WOMAN, A. Screenplay by Naomi Foner Second Revision March 20, 1992 124 pp.

Foner, Naomi (1946)
Along with the above entry, late 1980 and early 90s screenwriter Naomi Foner penned RUNNING ON EMPTY (’88) and BEYOND RANGOON (’94). (Francke, p. 151) She began her career as a producer on the popular television series, THE ELECTRIC COMPANY in 1971. Her most recent screenplay is BEE SEASON (2005). She is the mother of popular actors Maggie and Jake Gyllenhaal. She was nominated for an Academy Award for RUNNING ON EMPTY (’88).

DANGEROUS WOMAN, A. Screenplay by Naomi Foner 4th Draft 6/22/92 127 pp.

DARKNESS BEFORE DAWN. Teleplay by Karen Hall SHOOTING SCRIPT [ca. 1992] [with revisions on multicolor paper dated through to June 2, 1992] 107 pp.

FAMILY. Written by Nancy Sackett Revised[Draft Script] September 1, 1992 [with revisions on multicolored paper through to 9/21/92] 123 pp.

FIRST WIVES CLUB. Screenplay by Janet Roach First Draft February 20, 1992 129 pp.

GRACEDLAND. (Working Title) Teleplay by Rita Mae Brown Based on the book “GRACEDLAND” by Laura Kalpakian Second Draft April 6, 1992 104 pp.

HOUSE OF SECRETS AND LIES. Written by Diana Gould and Linda Schreyer Based on a story by Linda Schreyer and Connie Selleca SHOOTING SCRIPT June 10, 1992 [with revisions on multicolored paper dated through to 6/26/92] 104 pp.

INDECENT PROPOSAL. By Amy Holden Jones and William Goldman Based on the book by Jack Englehard [Draft Script] February 3, 1992 140 pp.

MISS ROSE WHITE. Teleplay by Anna Sandor based on the play A SHAYNA MAIDEL by Barbara Lebow As Broadcast [Transcript] [1992] 103 pp.

MRS. DOUBTFIRE. [Screenplay: Randi Mayem Singer and Leslie Dixon From the Novel by Anne Fine] [Draft Script] October 23, 1992 130 pp.

Dixon, Leslie (unknown)
Making her screenwriting debut in OUTRAGEOUS FORTUNE, “Dixon found a niche for herself as a writer of female-centered comedies” and a writer of “buddy movies for chicks.” Wary of the studio system, she notes the contradiction in that she received her break in Hollywood writing a formula comedy. Other outstanding works that Dixon wrote include OVERBOARD (’87), LOVERBOY (’89), and LOOK WHO’S TALKING NOW (’93). (Francke, pp. 114-116, 150; Mc, p. 212) Since 2000, she has written the Screenplays for PAY IT FORWARD (2000), FREAKY FRIDAY (2003), HAIRSPRAY (2007) and THE HEARTBREAK KID (2007), She currently has numerous projects in development .

MY GIRL II. A screenplay by Janet Kovalcik Revised Second Draft November 30, 1992 120 pp.

NEEDLES. Screenplay by Judith Feldman and Sarah Woodside Gallagher Based on the Novel NEEDLES by William Deverell Revised [Draft] July 14, 1992 122 pp.

NEFERTITI. Screenplay by Josette Naisse/Jerome Pescayre, Guy Gilles Story by Jean-Pierre Imbrohoris, Alain Kevine draft [script] January 1992 87 pp. (Includes costume sketches, reference photography, and set design documentation, about 25 pp.)

RUNNING MATES. By Carole Eastman [Draft Script] March 30, 1992 107 pp.

Eastman, Carole (aka Adrien Joyce) (1943-2004)
Celebrated screenwriter Carole Eastman has enjoyed a long career in Hollywood, beginning in the mid-1960s and continuing into the early 1990s . While not a strident feminist, she is considered a difficult and elusive person to research. In 1971, Eastman won the Oscar for FIVE EASY PIECES (’70). Other notable works include THE SHOOTING (’67), MODEL SHOP (’69), and PUZZLE OF A DOWNFALL CHILD (’70). (Mc, p. 227; Francke, pp. 93-93, 150)

RUNNING MATES. By Carole Eastman Revised March 30, 1992 [with revisions on blue paper dating to 5/12/92] About 110 pp.

SLEEPLESS IN SEATTLE. By Jeff Arch Rewrite: Nora Ephron & Delia Ephron [Draft Script] May 10, 1992 119 pp.

THING CALLED LOVE, THE. By Carol Heikkinen SHOOTING SCRIPT September 23, 1992 [with revisions on blue paper dated to 9/25/92] 116 pp.

TORCH SONG. Teleplay by Janet Brownell [From the book by Judith Krantz] FIRST DRAFT Sept 24, 1992 110 pp.

BORN TOO SOON. Screenplay by Susan Baskin AS BROADCAST SCRIPT 7/29/92 83 pp.

DANGEROUS WOMAN, A. Screenplay by Naomi Foner 4th Draft 6/22/92 127 pp.

MURDEROUS AFFAIR: THE CAROLYN WARMUS STORY, A. (Orig. LOVERS OF DECEIT) By Earl W. Wallace and Pamela Wallace and Martin Davidson and Janet Brownell Second Draft First Revision 7/24/92 112 pp.

1993

AGAINST THEIR WILL: WOMEN IN PRISON. Written by Linda Bergman Rev. Second Draft December 19, 1993 104 pp.

BRADY BUNCH MOVIE, THE. Written by Laurice Elehwany and Rick Copp [and Bonnie Turner & Terry Turner] Second Draft August 26, 1993 118 pp.

Turner, Bonnie (unknown)
Comedic talent Bonnie Turner is responsible for turning television characters into the following early 1990s films: WAYNE’S WORLD (’92), CONEHEADS (’93), and WAYNE’S WORLD 2 (’93). (Francke, p. 163) She is well known as writer producer for televisions’ SATURDAY NIGHT LIVE. 3RD ROCK FROM THE SUN and THAT’70s SHOW.

CASPER. Written by Deanna Oliver & Sherri Stoner THIRD DRAFT February 19, 1993 103 pp.

CASPER. Written by Deanna Oliver & Sherri Stoner Revisions by Elisa Bell NINTH DRAFT 11/23/93 101 pp.

CONEHEADS. By Tom Davis, Dan Aykroyd, Bonnie Turner, Terry Turner hooting Script January 28, 1993 [with revisions on multicolored paper dated through to 3-22-93] 111 pp.

FLINTSTONES, THE. Written Brian Levant, Nancy Steen & Neil Thompson, Al Aidekman, David Silverman & Stephen Sustarsic, Lloyd Garver, Cindy Begel Shooting Draft April 24 1993 [with revisions on multicolored paper dated through to 6/15/93] 114 pp.

HOLY MATRIMONY. By David Weisberg and Douglas S. Cook Revised by Gina Wendkos REVISED SHOOTING SCRIPT June 24, 1993 111 pp.

HOLY MATRIMONY. By David Weisberg and Douglas S. Cook Revised by Gina Wendkos REVISED SHOOTING SCRIPT July 9, 1993 [with revisions on multicolored paper dated through to 8/12/93] 114 pp.

I LOVE TROUBLE. An Original Screenplay by Nancy Meyers and Charles Shyer REVISED SECOND DRAFT July 8, 1993 129 pp.

LITTLE RASCALS. Screenplay by Paul Guay & Stephen Mazur and Penelope Spheeris REVISED SECOND DRAFT December 3, 1993 109 pp.

LITTLE RASCALS. Screenplay by Paul Guay & Stephen Mazur and Penelope Spheeris THIRD DRAFT December 16, 1993 107 pp.

LITTLE RASCALS. Screenplay by Paul Guay & Stephen Mazur and Penelope Spheeris FOURTH DRAFT December 30, 1993 [with revisions on multicolored paper dating through to 3/15/94] 107 pp.

LOOK WHO’S TALKING NOW. By Tom Ropelewski and Leslie Dixon. May 12, 1993 [Revised] Final Shooting Draft May 12, 1993 121 pp.

MY GIRL II. A screenplay by Janet Kovalcik. [Draft Script ca. 1993] 115 pp.

MY GIRL II. A screenplay by Janet Kovalcik. Revised Third Draft May 25, 1993 [with revisions on multicolored paper dated through to 6/15/93] 120 pp.

REALITY BITES. Written by Helen Childress. Rough Revised Draft March 19, 1993 106 pp.

SAFE PASSAGE . By Deena Goldstone Adapted from the novel “Safe Passage” By Ellen Bache Revised [Draft] June 15, 1993 130 pp.

TO DANCE WITH THE WHITE DOG. By Susan Cooper based on the book by Terry Kay First draft screenplay FEBRUARY 1993 107 pp.

VIRTUE. By John Sacret Young and Elisa Bell [Draft Script] April 20, 1993 122 pp.

BEYOND OBSESSION. Written by Eugenia Bostwick-Singer & Raymond Singer As Broadcast 8/9/93 100 pp.

CASPER. Written by Deanna Oliver & Sherri Stoner Revisions by Elisa Bell NINTH DRAFT 11/23/93 101 pp.

DELTA OF VENUS. By Elisa M. Rothstein and Patricia Louisiana Knop based on the book by Anais Nin [REVISED DRAFT SCRIPT] 12/31/93 99 pp.
Patricia Knop
F 156ƒ – 9 ½ Weeks, Wild Orchid;

GREGORY K: A PLACE TO BE. By Sharon Elizabeth Doyle [REVISED]SHOOTING SCRIPT 03/1/93 97 pp.

MRS. DOUBTFIRE. [Screenplay: Randi Mayem Singer and Leslie Dixon From the Novel by Anne Fine] REVISED [Draft Script] 2/26/93 127 pp.

1994

ADVENTURES OF PINOCCHIO, THE. [Orig. THE LEGEND OF PINOCCHIO] Screenplay by Sherry Mills and Joshua Stallings & Barry Samson Revised Draft October 11, 1994 95 pp.

BOYS By Stacy Cochran DRAFT 7 12/08/94 125 pp.

CLOCK WINDER, THE. By Sally Nemeth FIRST DRAFT November 23, 1994 107 pp.

COPYCAT. By Frank Pierson Participating writers: Ann Biderman, Jay Presson Allen third draft July 7, 1994 126 pp.

Allen, Jay Presson (1922-2006)
Beginning with MARNIE in 1964, Allen’s impressive talent has led to nearly four decades of film work. A bit too elusive to write a definitive biography, according to McCreadie, here’s some of her best work to date CABARET (’72), FUNNY LADY (’75), PRINCE OF THE CITY (’81), DEATHTRAP ( ’82), YEAR OF THE GUN (’91). (Mc, p. 227; Francke, p. 145) She also wrote the excellent screenplay for THE PRIME OF MISS JEAN BRODIE and was nominated for an Academy Award for her screenplays for CABARET (’72) and PRINCE OF THE CITY (’81).

DECONSTRUCTING SARAH. By Lee Rose Revised Final January 10, 1994 97 pp.

EMPIRE. [released as EMPIRE RECORDS] by Carol Heikkinen Second Draft, Revised June 17, 1994 116 pp.

FREE WILLY II. Written by Corey Blechman and Karen Janszen and John Mattison FINAL DRAFT March 17, 1994 114 pp.

FREE WILLY II. Written by Corey Blechman and Karen Janszen and John Mattison REVISED FINAL DRAFT April 12, 1994 119 pp.

HOW TO MAKE AN AMERICAN QUILT. Screenplay by Jane Anderson 2ND DRAFT April 22, 1994 143 pp.

INFINITY. Written by Patricia Broderick REVISED June 24, 1994 [with revisions on multicolor paper dated through to 9/7/94] 119 pp. `

LET IT BE ME. An original screenplay by Eleanor Bergstein July 19, 1994 [with revisions dated through to 8/30/94] 120 pp.

LIVING THE LIE: THE ANN MARIE MORAN STORY. By Nancy Isaak [Draft Script] 03 December 1994 102 pp.

MARY AND TIM. (Orig. TIM) Teleplay for CBS Television by Ann Beckett Based on the Novel by Colleen McCullough Second Draft 16 September 1994 104 pp.

NOW AND THEN. (Orig. THE GASLIGHT ADDITION) by I. Marlene King [Draft Script] August 19, 1994 120 pp.

PORTRAIT OF A LADY, THE. By Laura Jones based on the novel by Henry James Second Draft April 1994 136 pp. [Includes about 20 pp. of Character Notes and Cast/Crew Biographers, bound in.]

SOMEONE SHE KNOWS. (Orig. MURDER IN THE NEIGHBORHOOD) A Teleplay by Carol Monpere SHOOTING SCRIPT June 16, 1994 [with revisions on multicolored paper dated through to 6/24/94] 121 pp.

SPECIALIST, THE. Written by Alexandra Seros AKIVA GOLDSMAN DRAFT February 6, 1994 [with revisions on blue paper dated 2/14/94] 128 pp.

THREE WISHES. Screenplay by Elizabeth Anderson Story by Clifford & Ellen Green [Draft Script] September 2, 1994 123 pp.

WAITING TO EXHALE. By Terry McMillan and Ron Bass REVISED FIRST DRAFT October 4, 1994 133 pp.

BOYS. Screenplay by Stacy Cochran Sixth Rewrite 6/24/94 127 pp.

CASPER. [Written by Deanna Oliver & Sherri Stoner DRAFT SCRIPT] ca. 1993 [with revisions on multicolored paper dated through to 2/4/94] 103 pp.

FOUR ROOMS. By Allison Anders, Alexandre Rockwell, Robert Rodriguez, Quentin Tarentino [Revised] Shooting Script 10/28/94 111 pp.

FROM THE MIXED-UP FILES OF MRS. BASIL E. FRANKWEILER. Teleplay by Betty Goldberg SECOND DRAFT 12/19/94 105 pp.

FROM THE MIXED-UP FILES OF MRS. BASIL E. FRANKWEILER. Written by Betty Goldberg SHOOTING SCRIPT 1/27/94 98 pp.

INDIAN IN THE CUPBOARD, THE. By Melissa Mathison Based upon the book by Lynne Reid Banks DRAFT: 06/06/94 117 pp.

Mathison, Melissa (1950 - )
Only one of a handful of women writing in the 1980s and 90s that were working outside the studio system, Mathison is responsible for some of the most popular films during this period such as THE BLACK STALLION (’79), E.T. THE EXTRA-TERRESTRIAL (’82) and SON OF MORNINGSTAR (’90). (Mc, p. 184; Francke, p. 158)

INDICTMENT: THE MCMARTIN TRIAL. (Orig. MCMARTIN) by Abby Mann and Myra Mann. Revised [Draft Script] 12/27/94 121 pp.

LITTLE RASCALS. Screenplay by Paul Guay & Stephen Mazur and Penelope Spheeris. FOURTH DRAFT December 30, 1993 [with revisions on multicolored paper dating through to 3/15/94] 107 pp.

MOONLIGHT AND VALENTINO. By Ellen Simon. DRAFT 7/24/94 103 pp.

ZOYA: NIGHT ONE. (aka DANIELLE STEELE’S ZOYA) Written by Betty Goldberg Story by Danielle Steele Revised Polish 12/13/94 102 pp.

1995

CHILDREN OF THE NIGHT. Written by William Wood, Joan Micklin Silver, Vicki Patik, Robert Guenette [DRAFT SCRIPT] ca. 1995 [with revisions on multicolor paper, undated] About 103 pp.

CRITICAL. By Fay & Dan Weldon and Dario Scardapane Revised Draft September 28, 1995 114 pp.

DEAD SUZY. Teleplay by Thomas Baum and Darrah Cloud. [Draft Script] November 10, 1995 96 pp.

DEAD SUZY. Teleplay by Thomas Baum and Darrah Cloud. [Draft Script] November 10, 1995 [with revisions on multicolored paper dated through to 12/6/95] 92 pp.

FROM THE MIXED-UP FILES OF MRS. BASIL E. FRANKWEILER. Teleplay by Betty Goldberg . SHOOTING SCRIPT January 27, 1995 [with revisions on pink and blue paper dated through to 2-8-95 About 100 pp.

G.I. JANE. [Orig. UNDISCLOSED] Screenplay by David N. Twohy & Danielle Alexandra. FIRST DRAFT August 6, 1995 119 pp.

HOLLOW REED, THE. Written by Paula Milne. [Draft Script] 1995 96 pp.

ONE FINE DAY. By Ellen Simon Based on original draft by Terrel Seltzer. Oct. 23, 1995 118 pp.

TROUBLE WITH LOVING, THE. Written by Susan Cooper Revised 1ST Draft April 12, 1995 106 pp.

TROUBLE WITH LOVING, THE. Written by Susan Cooper. Second Draft June 12, 1995 106 pp.

DANIELLE STEEL’S THE RING: NIGHT I. Written by Nancy Sackett Rewritten by Carmen Culver First Revision 5/30/95 102 pp.

DANIELLE STEEL’S THE RING: NIGHT I. Written by Nancy Sackett Rewritten by Carmen Culver First Revision 5/30/95 101 pp.

TWO IF BY SEA. By Denis Leary and Mike Armstrong Story by Ann Lembeck, Denis Leary and Mike Armstrong [Revised Draft] 6/13/95 113 pp.

YEAR OF FRANK SINATRA, THE. By Janet Brownell revisions by Marshall Brickman [Draft Script] January 2, 1995 112 pp.

ZOYA: NIGHT TWO. (aka DANIELLE STEELE’S ZOYA) Written by Betty Goldberg. Story by Danielle Steele Polish 1/3/95 105 pp.

1996

200 CIGARETTES. By Shana Larsen. Revised Second Draft October 1996 115 pp.

ALIBI. By Pamela Wallace & Madeline DiMaggio. SHOOTING SCRIPT Oct. 30, 1996 [with revisions on multicolor paper dated through to Nov. 29, 1996 110 pp.

BADGE OF BETRAYAL. Teleplay by Stephanie Liss Final Polish April 4, 1996 [with revisions on multicolor paper through to July 24, 1996] 103 pp.

CHRISTMAS TREE, THE. By Sally Field and Janet Brownell [Draft Script] August 30, 1996 [with revisions on goldenrod paper dated through to 10/14/96] 108 pp.

FIRST DO NO HARM. An Original Screenplay for ABC Television by Ann Beckett Production Draft August 12, 1996 [with revisions on multicolored paper dated through to August 30, 1996] 104 pp.

MOTHER KNOWS BEST. (Orig. MOTHERLY LOVE) Written by Lisa Friedman Bloch & Kathleen Kirtland Silverman SHOOTING DRAFT November 8, 1996 [with revisions on multicolored paper dated through to 12/4/96] 110 pp.

PICTURE PERFECT. An original [story &] screenplay by Arleen Sorkin & Paul Slansky. revised draft by Glen Gordon Caron [Story: May Quigley] revised 1st Draft April 10, 1996 117 pp.

PICTURE PERFECT. An original [story &] screenplay by Arleen Sorkin & Paul Slansky. revised draft by Glen Gordon Caron and J. J. Abrams [Story: May Quigley] 2nd revised Draft April 30, 1996 108 pp.

ROMY & MICHELE’S HIGH SCHOOL REUNION. By Robin Schiff [Draft Script] January 8, 1996 117 pp.

BREAKING THROUGH. [Orig. BREAKING FREE] by Vivienne Radkoff . Shooting Script 6/6/96 [with revisions on multicolor paper dated through to 7/07/96 99 pp.

BUDDY. By Caroline Thompson. first draft revisions 2/15/96 104 pp.

GOODBYE, LOVER. By Ron Peer Revisions by Alanna Hamill & Robert Pucci, Buck Henry, Joel Cohen & Alec Sokolow R. J. Revised Draft 9/13/96 [with revisions on blue paper dated 9/18/96 ] 106 pp.

NOBODY LIVES FOREVER. Teleplay by Camilla Carr. Based on the novel by Edna Buchanan Pink Draft [Shooting Script] 3/1/96 [with revisions on multicolored paper dating through to 3/20/96] 108 pp.

OUT OF NOWHERE By Sharon Elizabeth Doyle RAINBOW SCRIPT 9/23/96-10/1/96 95 pages.


1997

BEFORE WOMEN HAD WINGS. By Connie Mae Flower Final Draft February 27, 1997 [revisions on multicolor paper dated through to 3/11/97 108 pp.

FAST SOFA. Screenplay by Bruce Craven & Peter Chase and Salomé Breziner Draft September 15, 1997 114 pp.

NIGHTMARE STREET. Teleplay by Rama Laura Stagner & Dan Witt Original White April 7, 1997 107 pp. [with annotations in ink in an unknown hand, throughout]

PRACTICAL MAGIC. By Robin Swicord. Rewritten by Akiva Goldsman. Adapted from the novel by Alice Hoffman [DRAFT SCRIPT] November 19, 1997 117 pp.

PRACTICAL MAGIC. By Robin Swicord. Rewritten by Akiva Goldsman. Adapted from the novel by Alice Hoffman FINAL DRAFT December 12, 1997 118 pp.

WHERE THE MONEY IS. By E. Max Frye. Revisions by Topper Lilien & Carroll Cartwright [Draft Script] September 18, 1997 122 pp.

IF: PART II. Teleplay by Natalie Chaidez. Story by Natalie Chaidez & Jim Leonard, Jr. PRODUCTION DRAFT 10/24/97 [with revisions on multicolor paper dated through to 11/12/97] 55 pp.

INHERITANCE, THE. Screenplay by Maria Nation based on the novel by Louisa May Alcott REVISED November 15, 1996 [with revisions on multicolor paper dated through to 2/11/97] 97 pp.

TWO CAME BACK. First Draft by Raymond Hartung Revisions by Karen Krenis Based on the book ALBATROSS by Deborah Scaling Kiley [Revised Draft] 7/28/97 102 pp.

WEDDING, THE. Teleplay by Lisa Jones Revisions by John Henry Redwood Based on the Novel by Dorothy West [Revised Draft] 8/1/97 [with revisions on multicolored paper dated through to 10/9/97

1998

BEHIND THE RED DOOR. (Orig. THE RED DOOR) by Matia Karrell and C. W. Cressler Third Draft October 1998 121 pp.

DICK. By Andrew Fleming & Sheryl Longin Final Draft March 30, 1998 110 pp.

HOOFBEATS. Screenplay by Jeanne Rosenberg. Story by Jean-Jacques Annaud. Revisions by Sergei Bodrov. SHOOTING SCRIPT August 10, 1998 71 pp.
F 160ƒ 1979-1991 – Wrote the Black Stallion, The Journey of Natty Gann

VIRGIN SUICIDES, THE. Screenplay by Sofia Coppola [Based on the Book By Jeffrey Eugenides] [Revised] FINAL Shooting Script July 8, 1998 111 pp.

FLINTSTONES II, THE. By Harry Elfont and Deborah Kaplan First Revisions 11/3/98 116 pp.

GIRL, INTERRUPTED. A screenplay based upon the memoir by Susanna Jaysen. Written by Lisa Loomer. Revisions by Susan Shilladay, Anna Hamilton Phelan. current revisions by James Mangold [Revised Draft Script] 6/12/98 125 pp.

2000

PRINCESS DIARIES, THE. Written by Gina Wendkos revisions by Bob Brunner 8/10/00 revisions by Audrey Wells 9/1/00 Rev. FINAL SHOOTING DRAFT 12/8/00 148 pp.

2001

IT’S ALWAYS SOMETHING: THE GILDA RADNER STORY. Teleplay by Janet Brownell. Second Draft/First Revisions August 9, 2001 94 pp.

REFERENCES

Beauchamp, Cari. Without Lying Down: Frances Marion and the Powerful Women of Early Hollywood. Berkeley: University of California Press. 1997.

Francke, Lizzie. Script Girls: Women Screenwriters in Hollywood. London: BFI Publishing. 1994.

McCreadie, Marsha. The Women Who Write the Movies: From Frances Marion to Nora Ephron. New York: Birch Lane Press. 1994.

Item ID#: 4655213

Print   Inquire