“IT’S A HELLUVA WAY TO MAKE A LIVING”: RARE COLLECTION OF 16 SCREENPLAYS AND TWO TYPED LETTERS SIGNED BY OSCAR-WINNING SCREENWRITER AND NOVELIST WILLIAM GOLDMAN TO MYSTERY WRITER ROSS MACDONALD

GOLDMAN, William. Collection of 16 Screenplays. WITH: Two typed letters signed. (Los Angeles, 1965-1992). Sixteen screenplay manuscripts, each leaf (8-1/2 by 11 inches) in typescript, various paper wrappers, some with studio imprints. WITH: Two typed letters signed (one, 8-1/2 by 11 inches; another on letterhead, 7 by 10-1/2 inches).

Collection of two typed letters signed by famed screenwriter and novelist William Goldman, written to mystery novelist Ross Macdonald, accompanied by an exceptional collection of 16 screenplays, including a final draft of Goldman’s Oscar-winning screenplay for Butch Cassidy and the Sundance Kid, two drafts of his Oscar-winning screenplay adaptation for All the President’s Men, his screenplays for Marathon Man, The Great Waldo Pepper and much more.

This extraordinary collection of 16 screenplays and two typed letters signed by William Goldman reflects the breadth and scope of one of the most successful screenwriters and novelists of our time. As noted by film historian David Thomson, “‘Storyteller’ is how Goldman would like to be remembered. And that is the sensible way of regarding him, whether as novelist, screenwriter or the author of two enjoyable anecdotal books about Hollywood? Goldman thinks in knockout lines and argues in brilliant segues? Few movies nowadays have the narrative intricacy or the speed of which Goldman is capable” (New Biographical Dictionary, 354). Featured in this wonderful collection of screenplays is a final draft of Goldman’s original Oscar-winning screenplay for Butch Cassidy and the Sundance Kid (1969), two drafts of his Oscar-winning screenplay adaptation for All the President’s Men (1976), drafts of his screenplays for films adapted from his novels such as Magic (1976) and Marathon Man (1971), and drafts of his screenplays for The Hot Rock (72), The Great Waldo Pepper (1975) and Harper (1966), which Goldman adapted from Ross Macdonald’s classic first Lew Archer mystery, Moving Target (1949). That film prompted a close friendship between Goldman and Macdonald that is clearly seen in these two typed letters signed by Goldman and written to Macdonald— one dated 1969 and the other dated 1973. In his 1969 letter Goldman writes Macdonald after publication of his review of Macdonald’s The Goodbye Look (1969) that was printed on the front page of the New York Times Book Review. In it Goldman speaks of their shared lives as writers and remarks: “It’s a helluva way to make a living.” In his 1973 letter Goldman thanks Macdonald for “the genuinely lovely things you wrote about The Princess Bride (book 1973, film 1987), and tells Macdonald of a recent bout of pneumonia. Also containing drafts for several unproduced screenplays and ephemera.

1.) Transcript of June 1969 letter to writer Ross Macdonald (i.e. Kenneth Millar):

Typescript on Goldman’s personal letterhead: “9 June 69. Ken; I had insomnia the other night, which isn’t unusual, except that I had taken a sleeping pill to guard against such a happening. Anyway, sometimes when I get it, I try to figure out what caused it, and of course I almost always fake myself out, but at least it passes the time. So there I was in the middle of the night cerebrating, and I couldn’t, I simply could not figure out what the hell was bugging me. And then, in one of those rare blinding flashes we are allotted, I got it. It was the review. You must understand that the nicest notice I ever got for anything printed within 50 miles of New York said I stunk. In the provinces there have on occasion been kind words, but here, never. And seeing my name on the FRONT PAGE of the TIMES [emphasis in original] totally unstrung me. I am so neurotic, and I mean this, that I can’t imagine you were much more pleased about the review than I was. For one blinding day, the establishment had allowed of my existence, and for that I owe you thanks. I am, obviously, thrilled you liked the notice. It was, as I’m sure you know since you’ve written them yourself, miserably hard to write. I had never tried one before and I doubt that I will again; if you want to not just string adjectives, it’s a helluva way to make a living. Thank you for your note, unnecessary as it was. My best to Dick Lid. I await, as I always do, your new book. And you’ll never know how marvelous that insomnia was. [signed] Bill

2.) Transcript of November 1973 letter to Ross Macdonald (Kenneth Millar)

Typescript: “1 Nov 73. Ken; I wanted to thank you and to tell you how touched I was by the genuinely lovely things you wrote about The Princess Bride. Now, if you have any curiosity, and we haven’t met really, but I’ll bet that if there’s one thing you have plenty of it’s curiosity, it may have crossed your mind that if I was so dam [sic] touched and all and so anxious to thank, why have I waited this length of time to get about doing it. Inefficiency? Only partly. No. Not even that this time. What happened was, the day before publication I began feeling a bit poorish, and the day after publication I was in the hospital and it turned out I had pneumonia. Not just ordinary pneumonia, mind you. It turned out, and this is truth I speak, that I managed to pick up the first case of micoplasma pneumonia that has been seen since 1938. The head of neurology remembered reading about it all those years ago in a medical journal. And what triggered his memory was that my chief side effect is that I developed overlapping vision and can see reasonably well out of either eye, but when you put them together, everyone looks like early Picasso. So I have to wear an eye patch for awhile which means I have no depth perception for awhile which makes typing difficult and complicated. This is the first letter I have tried since I was struck down, and if it’s full of typo’s [sic], so be it. What I loved so about what you wrote wasn’t just that it was so flattering, but that it said some things about my book that I guess I’d intended and hadn’t managed to flush to the conscious yet. If that all sounds phony, again, so be it. Anyway, the paper is beginning to go a bit buzzy on my [sic] now so I’ll close. I’ll let my wife proof read this and if she gives it an o.k., you’ll get it in the mail. If not, I’ll try again t morrow [sic]. God bless us every one. [signed] Bill [typescript] William Goldman

3.) List of the 16 screenplays (in approximate chronological order):

“The Moving Target” followed by [inked handwritten] Harper. Revised final draft, June 1965. In yellow studio wrappers with inkstamped “REV FINAL,” Warner Bros. inkstamp, printed title and date of “June 9, 1965”; bound with brass brads as issued; pp. 134. Title page with handprinted “(Harper)” and Warner Bros. inkstamps, inkstamp of “Gershwin-Kastner Prods.” Each leaf measures 8-1/2 by 11 inches, printed on recto only. WITH: Laid-in single-leaf script synopsis from Gershwin-Kastner dated “6 April 1966.” Text fine; faint rubbing to about-fine wrappers.

In the Spring the War Ended. Apparently unproduced screenplay. Revised final draft, February 1968. In red studio wrappers with front wrapper printed: “Property of Twentieth Century-Fox Film Corporation.” Title page printed typescript: “Revised Final, Feb. 68,” from “a Novel by: Steven Linakis. Screenplay: William Goldman.” With address and “Property of Lawrence Turman,” and “Spring the War Ended” hand-printed on lower fore-edge, bound with brass brads as issued; pp. 138. Each leaf measures 8-1/2 by 11 inches, printed on rectos only. A fine copy.

Butch Cassidy and the Sundance Kid. Final draft, July 1968. In blue studio wrappers with printed “FINAL,” printed number “176,” printed film title and date of “July 15, 1968,”“Property of Twentieth Century-Fox Film Corporation,” bound with brass brads as issued; pp. 186. Title page also printed “176” and “Final, July 15, 1968.” Each leaf measures 8-1/2 by 11 inches, printed on rectos only. Text fine; light edge-wear to about-fine wrappers.

That’s Life. Apparently unproduced screenplay, circa 1968. Based on Goldman’s novel The Thing of It Is (1967). In black agency wrappers with trace of label removal to front wrapper. Title page with “Ziegler-Ross Agency” imprint, bound with brass brads as issued; pp. 123. Each leaf measures 8-1/2 by 11 inches, printed on rectos only. Trace of label removal to front wrapper. A fine copy.

The Hot Rock. First draft, February 1971. In yellow studio wrappers with front wrapper printed: “A Hal Landers— Bobby Robert Production in Association with, Property of Twentieth Century-Fox Film Corporation” and with the printed number “245” at upper left corner;. Title page with “First Draft, February 11, 1971 [underlining in original]” at lower right corner; bound with brass brads as issued: pp. 184. Each leaf measures 8-1/2 by 11 inches, printed on rectos only. Text fine; slight edge-wear to near-fine wrappers.

The Great Waldo Pepper (1895-1931). First draft, June 1971. In blue wrappers with New York City address of “studio duplicating service, inc.” Title page with printed typescript: “Very First Draft For Our Eyes Only [underlining in original]” and date: “June, 1972”; bound with brass brads as issued; pp. 167. Each leaf measures 8-1/2 by 11 inches, printed on rectos only. Text fine; light edge-wear to near-fine wrappers.

All the President’s Men. First draft, August 1971. In orange wrappers with printed typescript: “First Draft August 13, 1974,” the number “16” at upper corner, “All the Presidents Men” hand-printed on lower fore-edge; bound with brass brads as issued; pp. 154. Each leaf measures 8-1/2 by 11 inches, printed on rectos only. Several leaves with traces of paperclip markings. Text fine, small bit of loss to left margin of near-fine copy.

The Great Waldo Pepper 1895-1931. Unspecified draft, circa 1972. In pink studio self- wrappers with printed typescript: “No. 020269” and “Please Note. This Material is the Property of Universal Studios?”; bound with brass brads as issued; pp. 132. Each leaf measures 8-1/2 by 11 inches, printed on rectos only. A fine copy.

All the President’s Men. Second draft, September 1974. In black and white production company printed wrappers; “Hollywood Titles” to recto of rear wrapper. Title page with “W” logo and printed typescript stating: “Wildwood Enterprises, Inc., Second Draft. September 25, 1974”; bound with brass brads as issued; pp. 161. Each leaf measures 8-1/2 by 11 inches, printed on rectos only. A fine copy.

Marathon Man. Second draft, February 1975. In red wrappers with New York City address of “studio duplicating service, inc.” Title page with printed typescript stating: “Second draft, February, 1975”; bound with brass brads as issued; pp. 130. Each leaf measures 8-1/2 by 11 inches, printed on rectos only. Text fine; slight edge-wear, faint soiling to near-fine wrappers.

Magic. Unspecified draft, December 1977. In white agency self-wrappers with printed typescript of title page: with “December, 1977” and New York City address of “Joseph E. Levine Presents, Inc.”; bound with brass brads as issued; pp. 134. Each leaf measures 8-1/2 by 11 inches, printed on rectos only. A fine copy.

Rescue! Apparently unproduced screenplay. First draft, December 1980. In black wrappers with New York City address of “studio duplicating service, inc.” Title page with printed typescript stating: “First Draft. December 1980”: bound with brass brads as issued; pp. 136. Each leaf measures 8-1/2 by 11 inches, printed on rectos only. Text fine; light edge-wear to near-fine wrappers.

Rescue! Apparently unproduced screenplay. Third draft, March 1981. In blue wrappers. Title page with printed typescript stating: “Third Draft. March ’81”; bound with brass brads as issued; pp. 121. Each leaf measures 8-1/2 by 11 inches, printed on rectos only. A fine copy.

Hotshot. Third draft, January 1981. In blue wrappers with New York City address of “studio duplicating service, inc.” Title page with printed typescript stating: “Article by: Jean Vallely. Screenplay: William Goldman. Third Draft. January 1981”; “Hotshot” hand-printed on lower fore-edge; bound with brass brads as issued; pp. 125. Each leaf measures 8-1/2 by 11 inches, printed on rectos only. WITH: Laid-in eleven-page photocopy of Esquire article titled: “The Ski Bum as an Endangered Species” by Jean Vallely, printed on rectos only, staple bound. Slight edge-wear to laid-in article, wrappers. An about-fine copy.

Charlie, [with penciled handwritten] Chaplin. Production company shooting script, September 1991. In white wrappers: rear leaf with printed: Words Scripts Services.” Title page with penciled hand-lettered “Chaplin” above penciled crossed-over typescript: “Charlie,” with “Copyright Lambeth Productions Ltd 1991” at lower left, “Shooting Script. September 1991 at lower right; bound with brass brads as issued; pp. 124. Each leaf measures 8-1/2 by 11 inches, printed on rectos only. A fine copy.

Low Fives. Apparently unproduced screenplay. First draft, April 1992. In white wrappers: rear leaf with New York City address of “studio duplicating service, inc.” Title page with printed typescript stating: “First Draft. April 15, 1992”; bound with brass brads as issued; pp. 129. Each leaf measures 8-1/2 by 11 inches, printed on rectos only. A fine copy.

Screenplays in near-fine to fine condition; letters fine with only faint foldlines.