[An Archive of Eighteen Scripts and Related Documents for:] DUEL IN THE SUN
by Busch, Niven; Oliver H.P. Garrett; [Ben Hecht]; Stephen Longstreet; and David O. Selznick [screenwriters]
[Culver City: RKO, Vanguard Films and Selznick International, 1944. Eighteen items. Quarto and folio. Mimeographed and carbon typescript, printed on rectos only. Bradbound or stapled in stencil-printed and studio wrappers, or self-wrappers. A few pieces a bit used, occasional hand-soiling, a few wrappers snagged or detached at brads, otherwise about very good to near fine. A substantial archive of scripts and related items for the 1947 Selznick adaptation to the screen of Busch's 1944 novel, directed by King Vidor, starring Jennifer Jones, Joseph Cotten, Gregory Peck, Lionel Barrymore, Lillian Gish, Butterfly McQueen and Harry Carey. The film won the award for the Best Overall Production at the Venice Film Festival. Present here are the following items: a) a 22pp treatment by Busch, undated; b) a 30pp. roster of "Physical Descriptions and Characterizations Compiled from the Novel," 14 December 1944; c) a 7pp. inventory list of "Costumes Compiled from Novel," 15 Dec. 1944; d) an RKO Estimating Script, co- written by Busch and Garrett, 24 July 1944, 134 leaves; e) a "Shooting Script," credited solely to Garrett, 20 December 1944, 149 leaves plus lettered inserts, part carbon typescript, part mimeo, with revises on salmon and yellow stock dated into the following year; f) an addenda of ca. 30 lettered and numbered leaves, with mimeographed text on rectos only of salmon and white stock, bradbound in mimeographed wrappers dated 9 October 1945, denoted "Legend [/] Prologue [/] Added Scenes & Retakes"; g) a separate draft, 60,16 leaves, carbon typescript, 4 January 1945, denoted copy #7, attributed to Garrett and Stephen Longstreet, bradbound in mimeographed wrappers, but to all appearances consisting solely of rewrites attributed to Longstreet; h) a "Final Shooting Script," 168 leaves plus many lettered inserts and revises on a rainbow of colored stocks dated into July, attributed solely to Garrett; i) a substantially different "Final Script," 12 January 1946, attributed solely to David O. Selznick, 208 leaves, a few pencil annotations; j) a Dialogue Continuity, 18 November 1946, foliated by reel format, with ms. annotation noting changes made in April 1947; k) a revised Cutting Continuity, foliated in reel format, 12 March 1947; l) a large format editing guide ca. 150 leaves, 12 May 1947, captioned "Foreign Inserts Marked"; l) a spirit duplicated typescript of a Dutch translation (a few leaves detached, torn or frayed); m) a spirit duplicated typescript of a Spanish version; n) Dialogue Cutting Continuity scripts for Trailers #2 & #3, 2pp. and 4pp., 29 May 1947; o) a 4pp. roster of "Censorship Cut," 31 July 1947; and finally p) a "Footage Schedule for All Domestic Release Prints," 10 May, 1947. The film had something of a bumpy development, with Ben Hecht doing some uncredited script doctoring, and several uncredited directors, including Josef von Sternberg, stepping in to help out. Many changes were required to accommodate the various protectors of public morality, and an analysis of the evolution of the film through the succession of these widely disparate scripts (from Busch's treatment and collaborative script through the mammoth 200 pager attributed to Selznick) would likely be informative. Though Busch was himself a productive screenwriter for three decades, with a dozen credited screenplays and uncredited work on others, his final screen credit for this film adaptation of his own novel consisted solely of "Suggested by a Novel by ...." One might assume the earliest draft here, co-written by him, might be closer to the novel than was the end product.
(Inventory #: WRCLIT76125)
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