Search Results: Con Men, Grifters, and Hustlers from Royal Books, Inc.

Hollywood: Paramount Pictures, 1948. Post-Production Superimposed Spotted List and Combined Dialogue script for the 1948 film. Single manuscript notation in pen on the front wrapper. Based on the 1947 novel. In 1890s London, the widow of a missionary falls for an amoral grifter who lodges at her boarding house. He soon drags her into his nefarious schemes, eventually manipulating her into blackmailing and stealing from her enfeebled childhood friend. The first Paramount picture to be shot in postwar England, and a Gaslight noir classic. Set and shot on location in England. Tall white titled self wrappers, noted as Superimposed Spotted List and Combined Dialogue script on the front wrapper, dated April 26, 1948. Title page integral on the front wrapper. 106 leaves, with last page of text numbered 106. Mimeograph duplication, rectos only. Pages Near Fine, wrapper Very Good plus with light soil and edgewear, side stapled. Grant Worldwide. Silver and Ward Classic Noir.

N.p.: International Creative Management [ICM], 1980. Early Revised Draft script for the 1987 film, here under the working title "Streets of New York." Magazine reporter Jonathan Fisher (Christopher Reeve) fabricates a story about a New York pimp after he is unsuccessful getting information on the streets. But the police, the district attorney, and a real pimp and police suspect, Fast Black (Morgan Freeman), believe the story is about Fast Black, and they all want to know Jonathan's sources. A long-time pet project of Christopher Reeve, who only agreed to do Sidney J. Furie's "Superman IV: The Quest for Peace" (1987) if they backed and financed "Street Smart." Morgan Freeman's breakthrough role, earning him an Academy Award nomination. Set in New York, shot on location in New York and Montreal, Canada. Untitled brown ICM wrappers. Title page present, dated October 29, 1980, noted as REVISED, with credits for screenwriter David Freeman. 139 leaves, with last page of text numbered "138 139."… Read More

N.p.: N.p., 1967. Collection of 21 vintage borderless double weight photographs from the 1967 film. Many with the stamp of still photographer Vincent Rossel on the verso, one with the stamp of Globe Photos, and one with a provenance stamp. Based on the 1897 novel by Georges Darien. After his inheritance is stolen by his uncle, a young man embarks on a life of crime to win back what was taken from him. Set and shot on location in Paris. 10 x 8 inches. Near Fine.

Paris: Nouvelles editions de films, 1967. Two vintage borderless double weight photographs from the set of the 1967 film. The first photograph shows Louis Malle and Jean-Paul Belmondo (who is in costume) conferring on the set. With the stamp of photographer Vincent Rossel and the name of the film, as well as manuscript annotations regarding layout, on the verso. The second photograph shows director Louis Malle (standing with his back to the camera) and other crew members at work on a rooftop in preparation for a scene. A few penciled annotations on the verso. Based on the 1897 novel by Georges Darien. After his inheritance is stolen by his uncle, a young man embarks on a life of crime to win back what was taken from him. Set and shot on location in Paris. 10 x 8 inches. Near Fine.

London: Arthur Barker, 1937. First UK Edition, preceding all others. Basis for the 1956 British film noir "Soho Incident" (released as "Spin a Dark Web" in the US), directed by Vernon Sewell and starring Faith Domergue and Lee Patterson. Very Good in a Very Good price-clipped dust jacket. Moderate offsetting to the endpapers, with a lightly faded spine. Jacket is lightly rubbed and edgeworn, with a couple of chips to the spine ends and flap folds.

Hollywood: Paramount Pictures, 1938. Vintage black-and-white studio still photograph from the set of the 1938 film noir antecedent. Shown are director Fritz Lang and George Raft on the set. Stamps on the verso crediting photographer C. Kenneth Lobben, Paramount, and an exclusivity notice. 8 x 10 inches with wide margins. Near Fine. Spicer, p. 403.