ARCHIVE.
MARILYN FRIED COLLECTION
An archive of 102 annotated film scripts, 1972-2015, used by the legendary acting teacher and director, to portray strong female roles by some of the leading actresses of modern American cinema, such as Diane Keaton, Sigourney Weaver, Mia Farrow, Carol Kane and others.
Marilyn Fried has worked as an acting coach and script consultant to many famous American actresses over the past 40 years. Reading the notes she used to shape these performances is a way of tracing the historical transformation of the way womens’ lives have been portrayed in American films since the 1970s and the onset of the modern feminist era. Some of the major films represented in this collection include: Awakenings, Gorillas in the Mist, Hannah and Her Sisters, Ironweed, Jerry Maguire, Julia, Manhattan, Roobocop, Silence of the Lambs and You Have Mail. The roster of stars whom Fried coached include Diane Keaton, Mia Farrow, Sigourney Weaver, Angelica Houston, Lorraine Bracco, Cindy Lauper, Carol Kane and Madonna.
Strong female roles are a dominant theme of this collection, and Fried guides her clients through roles ranging from Amelia Earhart, to tough cops and prosecutors, to embattled single mothers. She helped Sigourney Weaver play Dian Fosse in Gorillas in the Mist. Mia Farrow had her assistance in playing the beleaguered title character in Woody Allen’s classic, Hannah and Her Sisters. She also worked with Farrow in Broadway Danny Rose and The Purple Rose of Cairo. More than a quarter of the scripts included in this collection (28) are for another Woody Allen favorite: Diane Keaton, with whom Fried has worked since the early 1970s (including her role in Allen’s Manhattan). Allen said of Keaton early in her career that she “could be the biggest female star in the country.” Time has proven him right. In 2017 Keaton will receive the American Film Institute’s Life Achievement Award, the highest honor fo the film industry. Perhaps no actor’s work has better dramatized the realities of life for modern American women in all its joys, challenges, and complexities. She turned in stellar performances in iconic pictures such as The Godfather and Annie Hall that catapulted her to fame and stardom. But she also chose a series of roles—many included here—that presented to film audiences, strong, liberated, feminist characters, such as the 1986 film Baby Boom, in which she plays a harried single-mother and professional.
Fried’s extensive annotations in almost all of the scripts show her techniques for eliciting powerful performances. A frequent comment in many, often repeated multiple times within a script, is the question, “What do you want? How many ways?” As a student of Lee Strasberg, she pushes actors to awaken their emotional resources when playing a scene. In many scripts she goes so far as to imagine and create biographical backgrounds for the characters—even those with only small parts in a film—to give her actors a flesh and blood sense of the persona they are about to inhabit.
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Fried’s comments to Keaton in Baby Boom, for example, urge her to delve into the character’s frustration: “Trying to get organized, get back order. Back to the career woman. Isn’t happening....What do you want. Speak out feelings & thoughts!...About to bury yourself in a hole!” In one of her most powerful performances in the 1980s, The Good Mother (1986), Keaton plays “Anna” a woman in danger of losing her child in a bitter custody suit when her sexuality is used against her. Fried’s notes about the “Anna” character include: “Finding her sexuality, feeling herself...it’s good—nothing shameful...” In the mid-1990s, as she turned fifty—Keaton starred in The First Wives Club—a comedy about three middle-aged woman discarded by their husbands in favor of younger women. In later films such as And So it Goes (2012) Keaton plays a role that does what Hollywood rarely dares to do: show a woman over 50 enjoying romance and sex.
Scripts for Carol Kane and Suzy Amis are also prominent in the collection, including Kane’s comic turn as “Granny” in Addams Family Values (Fried’s notes include: “Self-image defiant from the way you look. Thinks she’s attractive. Sexy. Shawl, heavy eyelids....You know all the secrets of the house. If anything happens to you the household would collapse.”) Suzy Amis, who told Nan Robertson of the Times in 1986 that Fried “taught me everything I know,” appeared in The Usual Suspects and Titanic (both scripts included in the collection). Amis’s scripts are fascinating illustrations of how Fried can invent a family history, amounting almost to a psychological profile, to help a performance. In Amis’s title role in The Ballad of Little Jo, for example, the story of an abandoned young single mother who passes for a man in the 19th century American West, Fried writes: “How does Little Jo become a man?...Daddy always given her free rein. Jo is the youngest of the two. Never been taught about sex. Naive. Thought Jasper would marry you...Jo was father’s favorite. Stakes are high when you learn Father wanted a son...Strong bond with father lets you be who you want to be. Mother very controlled woman, uptight, [a] woman’s woman in that time ...” Amis was nominated for best actress award by the Independent Film Institute for that performance.
Sometimes the life story was there to be learned, as in Getting Gotti, the Diane Giacalone Story. This drama told the true story of the ill-fated federal prosecutor who tried to convict John Gotti in the first of his three racketeering trials. Gotti’s associates, however, had gotten to a juror and secretly rigged the outcome. That did not stop the press and colleagues for blaming Giacalone for the acquittal, claiming it was a mistake to have pitted a woman prosecutor against the powerful mob kingpin. Lorraine Bracco—later of Dr. Melfi fame in The Sopranos—played Giacalone: “Get Lorraine to speak, meet character,” Fried writes, going on to add: “Diane very Catholic. 2 days before Xmas Father died...Hates people who don’t respect the working man! Diane— learned everything the hard way!”
Other notable actors represented in Fried’s scripts include: Angelica Houston (Prizzi’s Honor); Christine Lahti (God of Carnage and Heidi Chronicles); Michael O’Keefe (Michael Clayton), Roseanne Barr (She-Devil) and Sigourney Weaver (Gorillas in the Mist). Sometimes there are interesting cases where one of Fried’s actors did not get a part. Cyndi Lauper, for example,
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received the script for the role that Marisa Tomei eventually played in My Cousin Vinny. And one of Fried’s struggling young students wanted badly to get a part in Tarantino’s Reservoir Dogs, but failed to do so.
This is an important archive for the history of American moviemaking, and for the role of women in modern American cinema. It is also a fascinating look into the mechanics of the actor’s craft—something that stars such as Diane Keaton (among many others) are usually very reluctant to talk about. These scripts do some of that talking for them.
The Scripts
All of the scripts, except where otherwise noted, are photocopies provided by the movie studios or production companies responsible for making the films. Several are accompanied by memoranda relating to the shooting of the film (schedules, etc.).
A Body of Water, A play in three days. By Lee Blessing. 109pp., 4to., pencil annotations throughout. In a three-ring binder. For the role of “Avis.”
A Delicate Balance, by Edward Albee. New York: Overlook Duckwort, 2013. 8vo, wrappers. Extensively annotated throughout in pencil. For role of “Harry” (in 2014 revival?) played by Bob Balaban.
A Lie of the Mind, by Sam Shepard. 231pp., 4to. A photocopy of Shepard’s signed and annotated “working copy.” Fried’s autograph notes in pencil throughout text. For the role of “Sally.”
Addams Family Values, by Paul Rudnick, January 18, 1993. 132pp., 4to., Scott Rudin Productions wrapper. Heavy pencil annotations on opening pages, lightly annotated thereafter. For Carol Kane. “Self-image, defiant from the way you look. Thinks she’s attractive. Sexy. Shawl, heavy eyelids....You know all the secrets of the house. If anything happens to you the household would collapse.”
All in the Family, (“Archie and the Editorial”), by Don Nicholl, July 14, 1972. 40pp., 4to., yellow paper (ink markings on title page); with 17-page mimeograph of Production Information memo for “Neil Simon’s I Ought to Be in Pictures.”
Amelia Earhart, the Final Flight, by Anna Sandor, July 13, 1993. 114pp., 4to., William Morris Agency wrappers. Heavily annotated throughout in pencil. For Diane Keaton. “What do you want? To prove to him you can!” “Stay in public eye!”
And So it Goes, by Mark Andrus, May 18, 2012. 101pp., 4to. Pink, white and blue pages. Heavily annotated throughout in pencil. For Diane Keaton. “Back on your back! Wonderful sex!
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Opening up to someone new. Scary, beautiful, openness, vulnerability. Think about me I’m a woman!”
Awakenings, by Steven Zaillian, April 6, 1989. 127pp., 4to., ICM wrappers, two pages of autograph notes loosely inserted. Pencil annotations. For Carol Kane (Typed note loosely inserted from Edward Yablans of ICM: “Carol Kane asked that I send this to you.”) The part ultimately went to Julie Kavner. “Ms. Costello. Bx. accent. Penny said important thing is something wrong with Ms. Costello. No social relations outside of the hospital. Alone all the time.”
Baby Boom, by Nancy Meyers and Charles Shyer, August 13, 1986. 128pp., 4to., extensive pencil annotations throughout. For Diane Keaton. “Trying to get organized, get back order. Back to the career woman. Isn’t happening.” “What do you want. Speak out feelings & thoughts! “ “About to bury yourself in a hole!”
Ballad of Little Jo, by Maggie Greenwald, March 17, 1992. 105pp., 4to., William Morris Agency wrappers. For Suzy Amis. “How does Little Jo become a man?” “Daddy always given her free rein. Jo is the youngest of the two. Never been taught about sex. Naive. Thought Jasper would marry you...Jo was father’s favorite. Stakes are high when you learn Father wanted a son... Strong bond with father lets you be who you want to be. Mother very controlled woman, uptight, woman’s woman in that time ...”
The Basketball Diaries, by Bryan Goluboff, March 5, 1994. 106pp., 4to (closed tears on title page). Pink, blue and white pages. With contact and crew lists. Pencil annotations. For Lorraine Bracco (with Leonardo DiCaprio).
Because I Said So, by Karen Leigh Hopkins and Jessie Nelson, October 25, 2005. 105pp., 4to. Heavily annotated in pencil throughout (title page worn and creased). For Diane Keaton.
The Boost, by Darryl Ponicsan, July 14, 1987. 120pp., 4to. Extensive pencil annotations. For Kelle Kerr.
Broadway Danny Rose, by Woody Allen. 111pp., 4to. Scattered pencil annotations and marginalia. For Mia Farrow.
Before Night Falls, by Cunningham O’Keefe, Lázaro Gómez Carriles and Julian Schnabel, April 29, 1999. 113pp., 4to., pencil annotations. For the role of “Onada,” Reinaldo’s mother.
Bells Are Ringing, by Betty Comden and Adolph Green. 120pp., 4to., in Tams-Witmark Music Library wrappers. A few ink annotations.
Cadillac Ranch, by Jennifer Cecil, July 5, 1995. 107pp., 4to. Davis Entertainment wrappers. Heavily annotated in pencil throughout. For Suzy Amis.
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Clutter, by Paul Marcarelli. 95pp., 4to. Extensively annotated in pencil. For Carol Kane. Cookie, by Nora Ephron and Alice Arlen. 111pp., 4to. Annotations in pencil, ink and yellow
marker. For Emily Lloyd.
Darling Companion, by Meg Kasdan and Lawrence Kasdan, January 14, 2010. 109pp., 4to. Pencil annotations throughout. For Diane Keaton.
Desperately Seeking Susan, by Leora Barish, July 13, 1984, July 26, 1984 and August 20, 1984. Three drafts of the script. Approximately 200pp., 4to. Drafts not numbered consecutively. Four pages of autograph notes at beginning of July 13 script on motivations and reactions of Susan. Scattered pencil and ink annotations. For Madonna.
The Discovery of America (re-titled Hester Street), by Joan Silver, June 1, 1973. 108pp., 4to. Annotated throughout in pencil. For Carol Kane.
The Education of Leda Beth Vincent (re-titled, Scandal in a Small Town), by Robert J. Avrech. 114pp., 4to., heavily annotated throughout in pencil. For Frances Lee McCain.
The Family Stone, by Tom Bezucha. 115pp., 4to., extensive pencil annotations throughout. Title- page detached. For Diane Keaton. “Baby when you were 22...You loved it. Always wanted to be a mother, have lots of kids...Family very important...”
First Wives Club, by Robert Harling. 125pp., 4to. Pink and yellow paper. A clean script. With: First Wives Club, by Robert Harling. 135pp., 4to., on white paper. Scott Rudin Productions wrappers. Heavily annotated in pencil. With Revised Yellow Oneline Schedule, December 22, 1995. 14pp., 4to. For Diane Keaton.
Flowergirl [title later changed to Little Manhattan], by Mark Levin and Jennifer Flackett, May 11, 2004. 100pp., 4to., blue, pink, and yellow paper. Heavily annotated in pencil. Also with 14 additional documents comprising new pages of script, list of cast and crew, shooting schedule, call sheet, Fried’s autograph notes, etc. For Charlie Ray. “Rosemary character. Sunnier & self- assured. Knows everything she does is terrific, self-assured, brighter, devil [may] care. [You’re] having a great time wherever you are! Charley, welcome to my world, you own N.Y.”
Frankie and Johnny in the Claire de Lune, by Terence McNally, June 6, 1987. 89pp., 4to. Pencil annotations throughout. For Carol Kane. The theatrical script. With: Frankie and Johnny in the Claire de Lune, by Terence McNally. September 13, 1990. The screenplay. Not annotated.
Fresh Horses, a play by Larry Ketron, December 8, 1985. 96pp., 4to., pencil annotations on title- page. For Suzy Amis.
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Getting Gotti, the Diane Giacalone Story, by James S. Henerson, December 10, 1992. 109pp., 4to. (closed tears and chips); pencil annotations; with 56-page Shooting Schedule (blue paper). For Lorraine Bracco. Fried notes a comment by Gotti’s real-life attorney Bruce Cutler: “Cutler says Diane’s not a litigator.” “Get Lorraine to speak, meet character.” With: black binder containing two later versions of the script: Shooting Draft, February 3, 1994 (103pp.) and 3rd Revised Shooting Draft, February 17, 1994 (106pp., green orange and blue paper); and Shooting Schedule. Both scripts also heavily annotated in pencil. “Diane very Catholic. 2 days before Xmas Father died...Hates people who don’t respect the working man! Diane—learned everything the hard way!”
God of Carnage, by Yasmina Reza (translated by Christopher Hampton), March 11, 2009. 64pp., 4to., ICM wrappwers. Extensively annotated throughout in pencil. For Christine Lahti.
The Good Mother, by Michael Bortman, January 21, 1988. 125pp., 4to. Extensively annotated in pencil throughout. For Diane Keaton. “Finding her sexuality, feeling herself...Babe had no inambitions [sic] sexually & her body—it’s good—nothing shameful—guilty touching her breasts.” “What do you want? Want forgiveness, relief.”
Gorillas in the Mist, by Anna Hamilton Phelan, April 6, 1987. 118pp., 4to., pencil annotations throughout. For Sigourney Weaver. “She is ready to work, but there are so many obstacles, so frustrating!” “Never give up attitude, Dian.” “Me against the world. I don’t care about the system.” Weaver received an Academy Award nomination for her performance.
Guillotine, by Steve Martin. and Wasp, A Play in One Act, by Steve Martin. Together 50pp., 4to. For Carol Kane. “Nobody listens to you. Questions foundation of your life. Subtext, nobody asked you & nobody seems to give a damn about you!”
Hannah and Her Sisters, by Woody Allen. 118pp., 4to. heavily annotated in pencil throughout. “Lee, 27, no money, Hannah, 32, Holly oldest, 35. Parents tour actors, vacations Europe. Parents colorful, exciting, creative, selfish, drink.” “Woody married. Comedy writer. Vitality. Sense of humor, guilt, great company.” For Mia Farrow. With: Hannah and Her Sisters, by Woody Allen. 118pp., 4to., red wrappers. A second, un-annotated copy.
Hanging Up, by Nora Ephron and Delia Ephron, June 5, 1998. 121pp., 4to., heavily annotated in pencil throughout. For Diane Keaton.
The Heidi Chronicles, by Wendy Wasserstein, February 1989. 105pp., 4to., blue wrapper. Extensively annotated in pencil. For Christine Lahti. In her love scene with Scoop: “Lingo of a Liberated Woman! Taking your cover away!...Hot & heavy affair with Scoop, 3 yrs. Heidi needs help! Really in love with Scoop!”
The House of the Spirits, by Billie August, May 1989. 125pp., 4to. Pencil annotations on title page only.
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Hurlyburly, by David Rabe. 176pp., 4to., photocopied pages showing corrections in another hand. Fried’s autograph notes in pencil on front cover. For part of “Darlene.”
Ironweed, by William Kennedy, October 21, 1985. 89pp., 4to., ICM wrappers. Pencil annotations on a few pages. For Michael O’Keefe. “He’s a gambler & not a very good one....Look up to Francis! Admire him! Was he a good baseball player? Great fastball. 3rd base, Albany Senators.”
Jacob’s Ladder, by Bruce Joel Rubin, December 2, 1988. 126pp., 4to. Scattered pencil annotations. For Elizabeth Peña. “Jezzie, very much in love with Jacob—sexual.”
Jelly’s Last Jam, by George C. Wolfe, November 1992. 99pp., 4to. Extensively annotated in pencil and yellow marker. For the Chimney Man character. “Spiritual character!...Chimney Man as good at revealing as Jelly is concealing. How is he going to do it each time, what’s he going to pull next. The package is elegant but the mind is the mind of a trixter.”
Jerry Maguire, by Cameron Crowe, July 1995. 147pp., 4to. A few scattered pencil annotations for uncredited “Woman on the Plane” role.
Julia, by Alvin Sargent., September 20, 1976. 138pp., 4to. Extensively annotated in pencil throughout. For an auditioning actress. “Scene about panic. What do you want? Strength to get through ordeal.”
Last Stand at Saber River, by Ronald M. Cohan, May 24, 1996. 104pp., 4to., white and blue pages. Pencil annotations throughout. Cover note from ICM forwarding script to Fried. For Suzy Amis. With: Last Stand at Saber River, by Ronald M. Cohen, September 23, 1996. 106pp., 4to. Pencil annotations.
Law & Order (episode: “Brother’s Keeper”), by Rene Balcer and Joe Gannon. 49pp., 4to., yellow paper. Annotated in pencil throughout. For Michael O’Keefe (who played two roles: a criminal and his respectable younger brother). “2 nights in jail. You know you’re going to get fingered for murder. Secret here. What’s this scene about. Standing up for your little brother. To convince them you did the murders!”
Law & Order: Criminal Intent (“the Faithful”), by Stephanie SenGupta, January 24, 2001. 61pp., 4to., extensively annotated in pencil throughout. For Michael O’Keefe.
The Lemon Sisters, by Jeremy Pikser, July 18, 1988. 118pp., 4to. Extensively annotated (virtually every page of script) in pencil. For Diane Keaton. “Eloise, trying to make things better for everyone. Want things to work out.” “What do you want? To bring the family back the way it was!...Want to give them a gift! Gift of the past! In order to cement your bonds!”
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Let It Snow (re-titled, Love the Coopers), by Steven Rogers, January 20, 2015. 114pp., 4to. Extensively annotated in pencil throughout. For Diane Keaton.
Life Itself (re-titled, 5 Flights Up), by Charlie Peters, July 24, 2013. 115pp., 4to. Pencil annotations throughout. For Diane Keaton. With: Life Itself, by Charlie Peters, September 20, 2013. 110pp., 4to., blue paper, extensively annotated in pencil throughout; with various production notes and memoranda.
The Little Drummer Girl, by Loring Mandel, May 1, 1983. 140pp., 4to. Extensivley annotated in pencil throughout. With additional pages of script critique by unknown author, and plot summary. For Diane Keaton. “Palestinian propaganda.” “Why did Charlie go to this meeting with Al?” “Caged animal.”
Mad Money, by Glen Gers. 102pp., 4to., extensively annotated throughout in pencil. Lacking title-page. With additional memoranda concerning shooting schedule. For Diane Keaton. With: Mad Money, by Glenn Gers, June 30, 2004. 120pp., 4to., Endeavor wrappers. Annotated throughout in pencil.
Manhattan, by Woody Allen. 100pp., 4to., annotated in pencil. For Diane Keaton. “Mary is a journalist. She would know these words. Second nature.”
Marvin’s Room, by Scott McPherson, February 17, 1995. 107pp., 4to. William Morris Agency wrpapers, heavily annoted throughout in pencil. For Diane Keaton. The movie also starred two other clients of Fried, Elle McPherson and Leonard DiCaprio. With: Marvin’s Room, another copy of the script, June 7, 1995. 116pp., 4to. Heavily annotated throughout in pencil. “No breakdown, be brave.”
Michael Clayton, by Tony Gilroy. 129pp., 4to. (printed recto and verso). Light pencil annotations, with fax copies of additional pages of script (annotated), and production correspondence. For Michael O’Keefe.
Miss Lulu Bett, An American Comedy of Manners, by Zona Gale, n.d. (First performed 1920). 98pp., 4to. (not numbered consecutively). For Lois Wilson. “Seems totally subservient...Trying to enlarge, find herself...”
Mrs. Soffel, by Ron Nyswaner, January 1, 1984. 114pp., 4to., extensive pencil annotations. For Diane Keaton. “Mrs. Soffel (Kate) very likeable character, in love with her husband, afraid of him, never treated like a peer, loves her children very much! A fanatic with God, the Bible. Tremendous attraction to Ed Biddle, fighting the attraction, excitement Kate has never had... Find things about Ed Hermann you dislike.” With a set of copies of various newspaper reviews of the film.
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The Missing Person, by Noah Buschel, August 1, 2007. 77pp., 4to., Paradigm wrappers. For Michael O’Keefe (with September 4, 2007 TLS loosely inserted from Scott Metzger to Fried, enclosing script and asking for her thoughts.) Extensive pencil annotations. “Don’t really know each other that well. Sex great at beg., begins to fall apart (good with the kid)...Kid goes so does Harold’s world, the marriage...Harold’s a man who has found his calling to save little children. The event at the World Trade Center is what’s driving him.”
The Mirror Has Two Faces, by Richard LaGravenese, (shooting draft), September 7, 1995 (directed by Barbara Streisand). 118pp., 4to. ICM wrappers. Pencil annotations. For Elle McPherson, who plays a minor character, Candace, whose presence in the movie disappears at page 12 of the script. But Fried helps her construct a full character profile: “Candace. Born America. Pennsylvania. 2 brothers, 1 sister. Philip oldest, Michael youngest, Charlotte, girl, named after mother. Loved Philip, competing with Charlotte, adored Michael...Jealous of her (Charlotte), you were Dad’s favorite, wanted to be Mom’s...” Also with “latest updated” version of the script, June 22, 1992. 137pp., 4to. William Morris Agency wrappers.
Montana, by Larry McMurtry, March 6, 1988. 105pp., 4to., ICM wrappers. Annotated in pencil. For Lea Thompson.
Moon Over Miami (re-titled Off and Running), by Mitch Glazer. A group of approximately 100 pages, 4to., of script revisions (not consecutively paginated); with call sheets and cue sheets. Extensively annotated in pencil and ink. For Cindy Lauper. “We’re getting him back. You’re in love now, you like Pompey. Reese is a nut! You’ve become family on this journey!...”
My Blue Heaven, by Nora Ephron. 131pp., 4to. ICM wrappers. A few pencil notations. For Carol Kane. “Want them to like you & listen to you.” “Shaldeen. Company. Want to be listened to. What you say interesting.”
My Cousin Vinny, by Dale Launer, October 30, 1990. 126pp., 4to. Pencil annotations, and typed note attached to cover for Cyndi [Lauper]: scheduling audition for the role of Lisa (eventually played by Marisa Tomei).
Nine Scenes About Love (re-titled, Love In the Time of Money), by Peter Mattei, November 17, 2000. 111pp., 4to., blue, white and pink pages. Extensively annotated in pencil. For Carol Kane. “Stayed at YWCA Lex Ave. 53rd St., got ushering jobs at theatres then eventually got a studio in the Village, took classes, trade papers—Backstage, Showbiz—ushered in movies for money... Teacher asked you to be my student! You started doing extra work for money! Show cases!”
The Northern Lights, by John Hoffmann and Kevin Kane, October 21, 1996. 118pp., 4to. Pencil annotations throughout. For Diane Keaton. “Roberta out of place in a small town...Mom & Dad died 1st year of College. Car accident, but you had to go out and work part-time...” In a scene in which Roberta first appears in the movie, Fried writes about Keaton’s character: “Contempt! No patience. What do you want? Dig.”
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Northern Lights II, byJohn Hoffman and Kevin Kane, January 28, 1997. 102pp., 4to. Extensively annotated in pencil throughout. For Diane Keaton.
Office Killer, by Tom Kalin, February 28, 1996. 92pp., 4to. White and blue paper. Heavily annotated throughout in pencil. For Carol Kane. “Stay in control. Trying to cover-up lying. What do you want? To kill Norah, finish the job. Trying to get me, I’m going to get them first...Keep yourself safe!” “What do you want?” repeated multiple times throughout script.
On Thin Ice, by Wesley Bishop. 88pp., 4to., extensively annotated in pencil throughout. Lacking title-page. For Diane Keaton.
The Other Sister, by Garry Marshall and Bob Brunner, November 23, 1997. 126pp., 4to. Pencil annotations. For Diane Keaton.
Paradise Paved, by Mitch Glazer, January 20,1990. 128pp., 4to. Pencil annotation throughout; in green cloth binder, with floral design; also containing three additional versions of the script, undated, January 17, 1990, and January 15, 1990 (116pp., 75pp., and 129pp., respectively). For Cindy Lauper. Sometime Fried questions the appropriateness of the scriptwriter’s dialogue. “Woody wouldn’t treat you this way,” she writes on one draft. “Cyd wouldn’t say this?”
Prizzi’s Honor, by Richard Condon and Janet Roach, May 11, 1984. 118pp., 4to. Heavily annotated. For Angelica Houston. In the script’s final scene, after Jack Nicholson has killed the Kathleen Turner character, and he and Angelica Huston can now become a couple, Fried writes: “You’ve won!”
The Purple Rose of Cairo, by Woody Allen. 124pp., 4to. Annotated on title page: “Woody’s Script—Mia.” For Mia Farrow.
Reds, by Warren Beatty and Trevor Griffiths, n.d. First draft. 150pp., 4to. Scattered ink annotations. For Diane Keaton.
Reservoir Dogs, by Quentin Tarrantino, October 22, 1990. 100pp., 4to. For an audition by G. Elvis Phillips for the role of Mr. Orange, with Phillips’s autograph note on title-page: “I need this one bad!!!” (He didn’t get it.)
Robocop, The Future of Law Enforcement, by Edward Neumeier and Michael Miner, June 10, 1986 (the original film, with Peter Weller). 109pp., 4to. Pencil annotations throughout. For Nancy Allen. “What are these scenes about? Keeping control under chaos! What do you want? Get the criminal!” with: Robocop (second draft), 120pp., 4to., pencil annotations throughout: “Have you ever been this close to death before? Has it happened before?” also with: Robocop (4th draft), June 10, 1986. 109pp., 4to. Pencil annotations.
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Rocket Gibraltar, by Amos Poe, May 1, 1987. 118pp., 4to. Pencil annotations. For Suzy Amis. “Aggie. Free spirit. 25 yrs. old. Catholic schol, college, Brown, pretty well in college, actress, not a good one!...Levi, your dad, you’re the baby. Many boyfriends. Mother died of cancer.”
Shanghai Surprise, by John Kohn and Robert Bentley. 125pp., 4to. Very heavily annotated throughout. For roles played by Madonna and Sean Penn (with a 3pp. shooting report for the film, Getting Gotti, February 22, 1994).
She-Devil, by Barry Strugatz & Mark R. Burns. March 7, 1989. 121pp., 4to. Orion Pictures Corp. blue wrappers (cover detached). Heavily annotated throughout in pencil. For Roseanne Barr (includes black-and-white photo of Barr on set). “What do you want? How many
ways?” (repeated several times throughout the script); “You’ve taken on the household. Play against the crying. Try to hold back the emotional parts.” With: She-Devil, a second, revised script (pink paper), April 5, 1989. 108pp., 4to. Annotated in pencil. “Taking care of her. Strong Mother. Cleaning her face. Subtext.” Also with extensive memoranda regarding script changes, one-line schedule, etc.
She’s So Lovely, by John Cassavetes. 105pp., 4to., blue and white paper. Annotated in pencil. For Susan Taylor.
Shoot the Moon, by Bo Goldman, May 22, 1979. 19pp., only. Annotated in pencil. For Diane Keaton. Keaton received an Academy Award nomination for this role.
Silence of the Lambs, by Ted Tally, October 6, 1989 (Shooting Script, 4th Draft). Annotated in pencil. For Brooke Smith, who played the Catherine Martin character, kidnapped and held captive by the “Buffalo Bill” character. With: Second copy of the same script.
Sister Mary Explains it All, by Christopher Durang, April 28, 2000. 99pp., 4to., gold and green pages. Extensively annotated in pencil throughout. For Diane Keaton.
Someone to Watch Over Me, by Howard Franklin, Danilo Bach, and David Seltzer. 133pp., 4to. blue wrappers. Annotated in pencil. For Lorraine Bracco. “Went with him a year before married & honeymoon, no money, brother & sister home, Dad cop, mother may be dead...” “What do you want? How many ways can I get what I want?”
Smother, by Tim Rasmussen and Vince Di Meglio, January 16, 2007. 103pp., pink, blue and white paper; with shooting schedule. For Diane Keaton. “Scene about avoidance. Want to control the situation.” “What’s the scene about? Recreating old times! What do you want? Surprise hm with the old morn. ritual...”
Sophie’s Choice, by Alan J. Pakula. 175pp., 4to. Pencil annotations on title-page.
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Surrender Dorothy, by Matthew McDuffie, September 20, 2004. 95pp., 4to. Heavily annotated in pencil throughout. For Diane Keaton.
Talk Radio, by Eric Bagosian and Tad Savinar, 1987. 75pp., 4to. The script for the theatrical production mounted by the New York Shakespeare Festival. Pencil annotations, some pages photocopied. For an auditioning actor.
Tennessee Valley (re-titled, The Only Thrill) by Larry Ketron. 118pp., 4to., extensive pencil annotations throughout, in William Morris Agency wrappers. For Diane Keaton. “Carol. I want him to know what you felt! Went through!” “Go away Reece! Let me go.”
Third, by Wendy Wasserstein, May 4, 2005. 78pp., 4to., ICM wrappers. Extensively annotated throughout in pencil. For Christine Lahti (who played the lead role in the West Coast production of Wasserstein’s last play). “Harvard graduate, teaching in Liberal College...free thinking, all male—first woman professor—you helped turn it co-ed—you opened the school up to all— liberated minds...”
Tilda, by Bill Condon and Cynthia Mort, May 25, 2010. 32pp., 4to., blue paper. Extensively annotated in pencil throughout. For Diane Keaton.
Titanic, written and directedby James Cameron, May 7, 1996. 154pp., 4to., scattered pencil annotations. For Suzy Amis in the role of Lizzy.
Too Big to Fail, by Peter Gould, October 7, 2010. 107pp., 4to., blue paper. Extensively annotated throughout in pencil. For Michael O’Keefe (O’Keefe’s name printed across each page of script).
Twister, by Michael Almereyda, November 1987. 113pp., 4to. Extensively annotated in pencil throughout. For Suzy Amis.
The Two Jakes, by Robert Towne, December 1988. 130pp., 4to., a few pencil notations on title- page, regarding the “Lillian” and “Kitty” characters.
The Usual Suspects, by Christopher McQuarrie, February 28, 1994. 116pp., 4to. ICM wrappers. Light pencil annotations. For Suzy Amis.
The Wedding, [by Justin Zackham], 123pp., 4to., WME wrappers. Pencil annotations throughout. For Diane Keaton. With List of Cast Members and shooting schedule looslely inserted.
When A Stranger Calls...Back, by Fred Walton. 118pp., 4to., Krost/Chapin wrappers. Heavily annotated throughout in pencil. For Carol Kane. “Demonstrate the power to take these women! To protect these women! PRIDE! It’s very theatrical, you’re in front of an audience...Julie’s in coma. John is leaving, doesn’t believe you. Police don’t believe the whole story. You’re out in the cold. No one believes you! You’ve been deserted. All ALONE!” “Drinking straight vodka.
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No ice, no mix!” “You think Julie is dead, it’s over. It’s finally come down to you or him.” Several notes at the beginning contain notes about practicing firing a handgun. “Shooting range...hand gun...6th Precinct, 13th Precinct...instruction after 2:30 p.m.”
Where the Heart Is, aka Getting Ready, by Telsche Boorman and John Boorman, 7th draft, March 1989. 107pp., 4to., CAA wrappers. Heavily annotated (nearly every page) in pencil. For Charlie Amis. “What do you want? How many ways?” “It’s getting to you Chloe. Too many people in the house, not enough room & no money!” “Chloe. Trying to survive taking to bull by the horns. Survival. Making it work.”
The Wild, Wild West, by Jeffrey Price and Peter S. Seaman, April 17, 1998. 111pp., 4to. Pencil annotations throughout. For Frederique van der Wal. “Ruth took you in, created this family for you! Bonded.”
The World’s Greatest Lover, by Gene Wilder, November 5, 1976. 130pp., 4to. 20th Century Fox illustrated wrapper. Scattered pencil annotations. For Carol Kane. At the scene at which Kane’s character finally meets Valentinio (Wilder), Fried writes: “Childlike. Anticipation. Anxious.”
You Have Mail, by Nora Ephron and Deia Ephron, October 30, 1997. 130pp., 4to. Some annotations in pencil and yellow marker. For “Simon” character (not credited).
The Young Pope, an HBO series directed by Paola Sorrentino. For Diane Keaton, and also starring Jude Law.
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Miscellaneous Items
Another Woman and September, by Woody Allen. Production notes (Another Woman) and Credits (September).
Chinatown, by Robert Towne. 145pp., 4to. Not annotated.
Crimes and Misdemeanors. List of cast and crew credits. 12pp., 4to.
Crimes of the Heart, by Beth Henley, July 1985. 144pp., 4to. William Morris Agency wrappers. Not annotated.
Officer and a Gentleman. Sample Outline, by Glen A. Christensen. 5pp., 4to.
The Phantom of the Opera, January 1990. 126pp., 4to. (3 copies). Not annotated.
Q & A, by Sidney Lumet, March 2, 1988. 101pp., 4to. Not annotated.
Production Notes for Another Woman, September, Hannah and Her Sisters, Manhattan Murder Mystery, The Good Mother, Leaving Normal (for which Christine Lahti was nominated for an Academy Award), The Lemon Sisters, Unstrung Heroes, Torch Song Trilogy, Two Small Bodies, and Alice.
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A folder of programs, playbills, photographs (including Fried with a teenage Leonard DiCaprio)
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Print Inquire
