Lord of the Rings: The Return of the King (2003) Call sheet for day No. 267

A call sheet used in the production of the Peter Jackson movie Lord of the Rings: Return of the King. This call sheet is for day #267 of filming and is dated “13th December 2000”. It has the name of the film as “Jamboree” which was what it was called originally to keep it secret. It has Peter Jackson’s name printed at the top as Director and it tells us that they were filming in Minas Tirith with the fellowship. There are 7 sheets in all, including the Call Sheet, travel directions for the "wet set", and a map to reach it, the "Mud Map 1A", location logistics anda map for "Dry Creek Quarry / Minas Tirith" and finally a map of Minas Tirith itself. [PSoL]

Two Tickets to Broadway (1951) Call sheet

This item is a call sheet from the 1951 musical play “Two Tickets to Broadway” starring the original scream queen, Janet Leigh. This call sheet lists the entire cast, as well as the director Busby Berkley. Other information listed includes: the production company RKO Radio Pictures, the shooting call time, and the date of November 11, 1950.

Star Trek: Voyager (1995) Original cast-signed script for "Warhead"

This 53 page production script is titled "Warhead" and is dated February 25, 1999, for episode 25 of season 5. Written by Michael Taylor and Kenneth Biller, the script has been autographed on the cover by:

• Kate Mulgrew (Captain Kathryn Janeway)
• Robert Beltran (Chakotay)
• Roxann Dawson (B'Elanna Torres)
• Robert Duncan McNeill (Tom Paris)
• Ethan Phillips (Neelix)
• Robert Picardo (The Doctor)
• Tim Russ (Tuvok)
• Garrett Wang (Harry Kim)
• Jeri Ryan (Seven of Nine)

Although the Internet (and mostly eBay) is full of signed scripts, 99% of them are fake. This particular one has impeccable provenance, having been purchased from ScreenUsed.

"Assemble the staff. We're going to find a way to outsmart a smart bomb."
                                                                - Captain Janeway, to Chakotay

Superman IV: The Quest for Peace (1987) Third Draft Screenplay

A production used screenplay of the 1987 Christopher Reeve superhero movie Superman IV: The Quest For Peace. This revised third draft is dated August 30th 1986 and has approximately one hundred and eight pages, with additional pink revisions from various dates slotted into the relevant places in the script. The script is numbered “133” and was assigned to Bob Bridges, second unit clapper loader. [PSoL]

 Other Superman scripts in the collection:

• Superman II, 2nd draft script (July 20, 1979)
• Superman III, shooting script (June 1983)

Enemy Mine (1985) Annotated production-used script

 

This is a production-used script for the 1985 film "Enemy Mine". It was written by Edward Khmara, based on the book by Barry B. Longyear. This script is annotated by John Dysktra, who handled the ILM part of the special effects through his company Apogee Special Effects. The original script was copied in order to be used as reference by the SFX crew, and this is one of those copies. It was part of the materials from Apogee and acquired privately.

Below is an excerpt from an interview with screenwriter Edward Khmara, published in "Starlog Magazine" #103, February 1986. The first part of the interview deals mostly about "Ladyhawke" (there is also a script for this film in the collection), but here is the part about "Enemy Mine".

Ed Khmara

Scripting Fantasy & Science Fiction in a world of medieval magic,on a planet of alien intrigue, this wordsmith crafts the relationshipsat the centers of "Ladyhawke" and "Enemy Mine."

(...)

"At the same time he was getting the cold shoulder on Ladyhawke, Khmara got another job.

"Steve [All of Me] Friedman had found Barry Longyear's 'Enemy Mine' and asked me if I thought there was a movie in it," Khmara smiles. "I needed a job, so I said yes."

Though he agreed there was a movie in Longyear's novella, Khmara admits that it wasn't easy to find.

"The story was not structured," the writer explains. "I had to create a linear time structure that could only be inferred from the book. The other major problem was that the story had no real ending. There was just a second story tacked on. I needed somehow to integrate these two things and create something for Davidge to do at the end that was more riveting than what he had to do in the story. "

Apparently, Khmara's script was sufficiently riveting. 20th Century Fox picked up the project — and Khmara with it. They also picked up director Richard {The Haunting of Julia) Loncraine. And then the real work started — nine months of rewriting.

"The script went through an expanding process when I worked with Richard," Khmara remembers. "There are many things that Richard contributed when we were working together that improved the story and are still in there. But at the end, we had a script that was too long and, in some ways, too diffuse."

Loncraine took that script and started to film Enemy Mine in Iceland. He didn't get very far. After a few weeks of shooting, Fox closed down the production.

' 'Richard wanted to make a certain kind of movie," Khmara explains. "The studio did not see eye to eye with him. That association ended, but he's a wonderful guy to work with and a great deal of fun."

"Enemy " Employment

Rather than kill Enemy Mine altogether, Fox brought on a new director— Wolfgang Petersen, who had just finished the big budget fantasy, The Neverending Story. Petersen loved the script. He wanted to make the movie. And, contrary to all the rules of Hollywood protocol, he did not fire Khmara and replace him with his pet writer. Instead, he brought Khmara to Germany and began to work with him on refining the script.

"Wolfgang and I spent months putting it together," Khmara recalls. "Because the script timed out longer than the traditional one minute per page, we really had demands on us, budgetary and lengthwise, to tighten it, tighten it, tighten it. We tightened it far more than we ever imagined we could. We cut out about 45 pages from the previous draft.

"If I wanted to create a sequence and Petersen liked it, we would go to the production designer, and he would make us some drawings or models so I could work from them. It's so much easier than just creating a that and a that and a that and then being told by the studio, 'We can't really film that.' It's not very often a writer gets a chance to sit down with all those people and put all those elements together simultaneously and really see the film evolve. ' '

There were times, however, when it looked as if that evolution would be cut short.

"There were several changes in studio administration while we were working on the script," the writer says. "Each change brought new demands. There was a time when we didn't know if the new administration would decide this was just throwing good money after bad. During those times, Wolfgang and I would go to lunch, and afterwards, he would say, 'Should we go back to work, or just to the beer garden?' "

Fortunately for Khmara— and unfortunately for the German beer industry— each new Fox administration decided to continue with the project. And this screenwriter is delighted with the results.

"I can't say this is exactly the movie I saw in my head when I sat down to write the script," Khmara acknowledges. "It could never be totally that. But it is 80 or 90%. And that 80% is more than anybody has a right to expect. Filmmaking is a collaborative experience, and the movie that has been made came into my vision gradually by working with Petersen and Rolf Zehetbauer, the production designer. From what I've seen, the movie they've made is wonderful."

With Enemy Mine finally out of the way, Khmara is writing another genre project for producer Stephen Friedman.

"I seem to have gotten typecast as a genre writer," Ed Khmara says. "If I could, I would like to write films like Places in the Heart— simple, poignant, emotional. You listen to the songs of a singer like Bruce Springsteen whose lyrics seem like something someone could have said in a moment of pure emotion and feeling. The fact that they can be said so smoothly and poignantly and effortlessly — that's also the best plotting. But it's obviously the very hardest, the most difficult. It's real sleight of hand.

"Working with science fiction, I try to find the elements that are really human. I believe those are the elements that any story needs to make it work. That's what attracted me so much to Enemy Mine — it's that human relationship between the two characters. That's what's important."

 ---

Enemy Mine (1985) Polaroid reference photos of early models of Drac and BTA ships

On a far distant planet, at the height of the war between the Dracon and Terran Empires, two military pilots crash in the heat of battle. One is Terran, one is Drac. Each is a repulsive alien to the other. Each is a professional warrior, filled with hatred for his blood enemy. Now, marooned on a hostile world, they have a choice. They can complete their missions in a mutual pact of violence and death. Or they can do the most painful thing any Human or Drac has ever done: reach out and begin the new age of understanding that is struggling to be born.

"Enemy Mine" was directed by Wolfgang Petersen, with Dennis Quaid and Louis Gossett Jr. in 1985.

These are large size original Polaroids of the early models for the Drac ship and the Bilateral Terran Alliance (BTA) ship. From information gathered from the web (here) these were reference shots taken from early models, when Richard Loncraine was set to direct, having later been replaced by Petersen. The Polaroids show some signs of production use, as there are pin holes in the corners. Three have individual Polaroid numbers in the back. Some are also protected by a transparent plastic pocket. These were part of the materials from John Dykstra's Apogee Special Affects Company and acquired privately for the collection.

Space: 1999 (1975) Original colour storyboards for "Devil's Planet"

These special effects storyboards were drawn for the episode "Devil's Planet", the 22nd episode of Series 2 of "Space: 1999". At the start of the series they were drawn by Brian Johnson and Cyril Forster, but as Brian became busier Cyril took over most of the work. These are original hand-drawn images in different color markers and are exceedingly rare, and I know of only five others surviving examples (for "The Immunity Syndrome", see below). This one came directly from Brian Johnson.

The drawings/ description are either in pairs, on pieces of paper 32.5cm x 20.5cm (approx.), laid out in landscape format or a single 16.5cm X 20.5cm (approx.) portrait format eg: one of the big pieces cut in half, They are not regular A4 or A5. The drawings are then stuck to one large piece of black cartridge type paper and slid into a big ArtCare slip. The whole thing is approx. 85cm x 61.5cm.

The individual sheets of paper that the paintings/directions are executed upon are photocopied blanks with spaces to enter the story, scene and slate number. There's a bordered space for the picture and below it space for the "remarks" eg: direction/ description of the shot, plus "space sky" and "planet ext" to be crossed through as required. The "remarks" below the pictures, quoted below, are mostly reproduced from the script.

As a shot was completed a big cross was put over the relevant picture with a chinagraph (grease) pencil. The crossings out are still present and as they are on the plastic slip the drawings are unaffected. The picture for Slate 3X has a small inked stamp on its bottom right corner :

Date................................................... (Alas not filled in)
BRAY FILM STUDIOS
PINEWOOD STUDIOS
SPECIAL/VISUAL FX
ATTN BRIAN JOHNSON

(This text was adapted from the description of another example, for "The Immunity Syndrome", in the definitive "Space: 1999" reference website, The Catacombs.)

Here is Brian Johnson with another set of storyboards.

Space: 1999 (1975) Rough Storyboards for "The Last Sunset"

These are rough storyboards for the first season episode of "Space: 1999", "The Last Sunset". The shots seem to be out of order and there are many SFX shots between these, but this could have been the order in which they were filmed. Except for the first page, which is a photocopy with felt pen with hand-made checkmarks, they were hand-drawn in black marker by Brian Johnson, special effects director of the series, and came from his collection. The fifth and last page, seen below, concerns Eagle manoevres and details the probe's approach to the Eagle before latching on to it, and sports hand-drawn orange marker over a storyboard copy. These are extremely rare storyboards, and it is the first time they have been seen outside filming.

Space: 1999 (1975) David Litchfield's Revised Draft Script for "The Biological Computer"

Signature and script number intentionally blurred.
The original is just fine.

This is David Litchfield's personal copy of the second series' first episode of "Space: 1999". At this point it was still called "The Biological Computer". In the end, the title was changed to "The Metamorph". The script, dated January 5th, 1976, was written by Johnny Byrne, and has white pages, with many hand-written marks. David Litchfield was the camera operator on "Space:1999". The script is also signed by Brian Johnson, the Special Effects designer. This is the episode where Maya was introduced, becoming a mainstay for the whole season. Acquired privately, with detailed provenance.

Dom Roberto / The Puppeteer (1962) Original script and shooting schedule

This is a script and shooting schedule from the 1962 Portuguese film "Dom Roberto" (aka. The Puppeteer) by Ernesto de Sousa. The shooting schedule is signed by the production assistant, Luis Filipe Monteiro. It was a gift from a friend, Pedro Mamede.

"Dom Roberto" was the director's only film, but nevertheless played an important part in Portuguese film as a whole. It is considered an innovative work, marking the beginning of the neo-realism and the "Nouvelle Vague" in Portuguese cinema, as the director had been exposed to it in Paris. When it premiered in Lisbon, in the Cinema Império, it was considered a new film from the new Portuguese cinema. It was selected for the 1963 Cannes Film Festival, and won the "Prix de la Jeune Critique" and the "Prix de l'Association du Cinéma pour la Jeunesse", but the director was prevented from appearing by PIDE, the political police of the dictatorship Portugal was living at the time.

The film also has the distinction of, since it shows strong political themes, not having received any support from the government. It was completely funded by the country's film clubs, of which the director was one of the founders. Along with the film Os Verdes Anos (1963) by Paulo Rocha, where the political issues and the neo-realist influence is less present "Dom Roberto" marks the beginning of a turning point in the aesthetics and ideas of Portuguese film-making.

It was only seen again, on the Portuguese television, after the 1974 revolution.

 

The Cannes Diploma [not in collection]

Further reading: 

• Wikipedia (in Portuguese)
• Ernesto de Sousa - Centro de Estudos Multidisciplinares (in Portuguese)
• "The Puppeteer" at IMDB

A small documentary with images from the film.

Superman III (1983) Early storyboards for opening sequence

These very early storyboards for the opening sequence of "Superman III" were collected over the years from many sources and are all original pencil drawings. Most are not drawn or pasted onto "official" production storyboard templated, having been drawn in rough pencil over regular paper, and it is this lack of production markings or numbering that renders them so difficult to put in proper order. They were drawn by Mike Ploog. The earliest script I could find online was the revised version, dated April 1982, which was used here. I am happy to say that a final draft from June 1982 is part of my collection, and you can find it elsewhere on the site.

This is a sort of puzzle. What fits where is a mystery, so any ideas of the correct sequence are most welcome. Meanwhile, enjoy!

---

EXT. METROPOLIS STREETS - DAY ESTABLISHING SHOT -- The busy streets of Metropolis on a typical weekday morning. Hustle and bustle, PEDESTRIANS and vehicles. It's nine-o'clock and people are on their way to work. As theme music continues, the sequence begins. 1. Coming out the front door of a building is an absolute knockout of a GIRL: voluptuous, sexy, young, and healthy. Her every step casues a series of mind- boggling ripples. She is seemingly oblivious to the effect she has on passers- by. About 25 years old, this is somebody we will be seeing much more of later. LORELEI AMBROSIA.

2. As she walks AWAY FROM CAMERA, her rear end reminding us of the proverbial puppies fighting in a sack, a GUY walking down the street from the opposite direction turns to ogle at her and therefore doesn't look where he's going. He bumps into a table-top tray of TOY WIND-UP PENGUINS being sold by a VENDOR. The PENGUINS, about 20 of them, go waddling off in different directions up and down the street.

3. A split-second later, a MAN IN A CAP, also walking in the opposite direction, comes abreast of LORELEI, turns to look at her, doesn't see that right in front of him (he's near the curb) is a street-sign post. He slams into it face first.

4. Clutching his smashed nose, he recoils backwards with a great lurch, banging full-force into a GIRL ON ROLLER SKATES. 

5. Knocked off balance, wobbling erratically, she swerves and srashes into a hot dog wagon on the corner of the street. Standing there, buying a morning snack, is the DAILY PLANET photographer and cub reporter JIMMY OLSEN, on his way to the office. The HOT DOG VENDOR has put a frank on a bun and os about to squirt the mustard on it when the ROLLER SKATER crashes into the hot dog wagon. The mustard squirts on Jimmy's face instead and the wagon goes rolling away with considerable momentum. 

6. On the corner of the next street are three telephone booths, side by side. In each booth is a CALLER. The LAST CALLER, A WOMAN, holds onto a leash, which dangles outside her phone booth. On the end of this leash is a LITTLE DOG, waiting patiently outside while his mistress talks on the phoneinside. The hot dog wagon, picking up speed, hits the first phone booth with considerable impact. 

7. Causing a domino effect: the first booth tips over, with the GUY still inside it. and hits the second booth, tipping it and its OCCUPANT over, and that in turn knocks over the third booth, causing the LADY inside to lose her grip on the leash. Immediately the LITTLE DOG, startled by the crash, goes charging off down the street, trailing his leash. 

8. Further down the street is a BLIND MAN holding the handle of the harness attached to his SEEING-EYE DOG stands in a doorway. As the LITTLE DOG comes running by, the SEEING-EYE DOG gets excited and pulls free of his MASTER, chasing the other DOG. Startled, the BLIND MAN staggers out into the street, feeling for his DOG, just as:

9. A WHITE-LINE ROAD PAINTER workman is coming down the avenue, holding the handle of his motorized line-painting machine, which he is guiding precisely down the center of the street, painting, AS WE SEE a straight white line. He is distracted by the CHARGING DOGS and lets go of his machine momentarily. A moment later, the BLIND MAN staggers out into the road, reaches out and grasps what feels exactly like the handle of his Seeing-eye Dog harness. It ain't. It's the line-painting machine. 

10. Which now continues down the road guided by a BLIND MAN, and the white line being painted curves, zig-zags, and bends so that any motorist trying to follow it would go berserk. 

11. In the meantime, strolling down a side-street, with the characteristically springing step, affable smile for the world, neat suit, hat, and glasses comes none other than CLARK KENT. He suddenly jumps back as the LITTLE DOG comes whizzing by and instinctively reaches down with super-speed to grab the leash. This he does, but if the leash stops, the DOG doesn't. Instead the leash pulls free of the collar, leaving a bemused CLARK standing there holding an empty leash. 

12. The DOGS whiz by the MAN IN THE CAP (fellow who keeps banging into things and getting hurt). As he leaps back to avoid them, he falls into an open manhole. 

13. In the middle of the street, the white-line maker "guided" by the BLIND MAN, is heading for the area of the street where the open manhole is. The BLIND MAN loses control of the white-line painter and is about to step into the open hole, when:

14. The now-capless bald head of the MAN IN THE CAP emerges from the manhole, just in time for the BLIND MAN to step right on it (like a man crossing a pond by stepping on the stones). The BLIND MAN, busy whistling for his missing dog, never noticed how near to disaster he came, but the bald head of the poor MAN IN THE CAP is now imprinted with a black sole mark.

15. The white-line roller, with nobody steering it, crashes into a little barrier that has been set up on the other side of the open manhole. Customary smudge pots mark the barrier. The white-line roller hits a smudge pot.

16. The smudge pot goes rolling across the gutter, stops. From another direction comes one of those TOY PENGUINS. It hits the smudge pot and is immediately set on fire by the flame.

17. The now flaming PENQUIN continues walking across the street, towards a newspaper stand. Stacked on the curb beside it are a bundle of as-yet-unopened newspapers. The burning toy comes to a stop against the stack, which begins to smoulder.

18. Further down the street is a bank. And just at this moment, running out of the bank, a gun in one hand, a sack of stolen money in the other, comes a BANK ROBBER. A BANK GUARD races from the bank and gives chase. The BANK ROBBER doesn't see:

19. A MAN removing a ladder (the kind which hooks onto clamps from the side of a van truck). As the MAN and ladder turn, the ladder hook grabs the ROBBER'S hands. The MAN WITH THE LADDER, never realizing what he has done, swings round 180 degrees with the ladder and the money bag is pulled off the ladder by:

20. The wires of a scaffold where some BUILDING REPAIRMEN stand, just about to go up the side of a building. A second after the sack is deposited on the platform, the scaffold starts to rise.

[Here we can perhaps add another non-filmed point in the sequence, as one of the
storyboards had the annotation "meter maid?", suggesting that it might take
place before or after it. I offer that it may have been before, as there really
is no good place afterwards -- which might explain why it was deleted.]

A preliminary sketch of the storyboard below.

21. The BANK GUARD fires at the ROBBER, but his shot misses and hits the windshield of a passing car. The windshield shatters and the DRIVER crashes into a fire hydrant on the curb. 

[Another difference from the filmed version, here the man in the car is distracted by Lorelei and the dog and crashes into the fire hydrant.] 

22. Water gushes out of the hydrant, filling up the interior of the car like a goldfish bowl, the DRIVER trapped inside. 

23. Across the street, the flaming newspapers have set the entire kiosk on fire.

24. Hearing the screams and shouts, CLARK KENT looks down the street and sees what's happening. Quickly, he looks around for a place to metamorphose sees none.

25. HE dashes down the street, pausing for a regretful look at the three phone booths on their sides (no way for him there). He spots an open storefront with one of those Photomat Booths inside, enters it, behind the curtain. We hear a coin drop in the slot; the OCCUPIED sign goes on; the lights flash. A moment later, bursting out of the booth. . . SUPERMAN!

26. He's just about to take off, when he does an "Oops!" as he remembers: the four photos drop into the receptacle. AS he turns to go back and get them, a KID wanders by and SUPERMAN grabs them out of his hand. ON THE PHOTOS: They show the change. PHOTO 1" Clark. 2. Clark with glasses off, shirt unbuttoned. 3. Further along. 4. SUPERMAN. Quickly he tears off the fourth picture and hands it to the astonished KID.

[Here we have another full sequence which was not filmed. As the car fills with water, the roller skater approaches and passes by Lorelei. A police-woman approaches the car and notices it is filling with water. A large mirror is being taken out of a moving truck and the skater is on a collision course.]

[Now, as the policewoman is figuring out how to open the car, the
skater is approaching, on a collision course with the large glass. Superman lands, stops the skater from colliding and moves toward the car.]

27. SUPERMAN lands on top of the car . . . now totally filled with water. Quickly, he rips open the sun roof, reaches inside and hauls the soggy DRIVER out. Then, jumping to the ground, he lifts the car off the hydrant, sets it down, then jams the broken hydrant back into the sidewalk, thereby stopping the gushing water.
 

28. Across the street, the kiosk is engulfed in flames. SUPERMAN lifts the car, flies across the street with it and turns it upside down over the fire. The water gushes out and douses the flames.

29. JIMMY OLSEN, watching from the sidewalk, sheers: JIMMY Way to go, Superman!

30. Up high on the outside of the building, the WORKERS on the scaffold turn to look down at what's happening on the street. ONE OF THEM kicks the sack of money over the side as he turns to look.

31. In the playground of the park on the next street, a YOUNG MOTHER (or a NANNY)  lifts a little TODDLER from a baby carriage and sets him on one of end of a see-saw. Now she starts to walk around it to the other end so that she can give the little  fellow a gentle see-saw ride. But before she gets there, the falling money bag lands full force on the (up) end of the see-saw.

32. Which causes the other end to fly upwards, catapulting the TODDLER straight up in the air. The YOUNG MOTHER screams.

33. The BABY lands in the topmost branches of a tree and howls.

34. SUPERMAN sees the problem, flies down and rescues the TODDLER. He hands him to the YOUNG MOTHER and flies off.

[This scene was actually filmed and you can find it on YouTube]

35. THE TWO PAINTERS are on a scaffold, about two stories up on the side of a building. One of them turns abruptly as he spots SUPERMAN flying by:

                                FIRST PAINTER
                               (to CO-WORKER)
                           Mike, looks who's here!
 
And as he turns, he inadvertently kicks over one can of paint on
its side, Paint slowly starts to drip out and over the side.
 
36. QUICK PAN DOWN TO STREET LEVEL BELOW WHERE WE LOOK through
the window of a posh Art Gallery. Inside, a DIGNIFIED GENTLEMAN
is paying a large sum of money to the OWNER as his purchase, a 
large oil painting in gilt frame, is being moved toward the door
by the GALLERY WORKERS.
 
37. The DIGNIFIED GENTLEMAN exits the gallery first. As he steps out,
the first drops of paint from the tipped-over paint can above starts
to fall. He automatically opens his umbrella at the first sign of 
falling moisture.

[The storyboard below suggests a competely new moment in the Rube Goldberg
sequence: the gentleman (in the film he has an umbrella) has just bought a car and is waiting for the paint drip to fall before advancing. Sadly, this is the only storyboard I have for this. We can only imagine the rest.]

38. After a pause, there seems to be no more precipitation. He closes up his umbrella. A second later, the entire can of paint falls on his head.

39. He reels backwards from the blow and crashes into a penny gumball machine on the sidewalk (outside an adjacent candy store).

40. The gumball machine crashes to the ground, the glass globe breaks and a hundred little gumballs roll onto the sidewalk. 

41. Way down the street, the BANK ROBBER is fleeing from the pursuing BANK GUARD, constantly looking over his shoulder to see if he's gaining on him.

42. On the other side of the art gallery, PATRONS in a sidewalk café are being entertained by one of those STREET PERFORMERS seen everywhere lately . . . a second-rate Marcel Marceau, i.e. a white-faced, black leotard-garbed MIME. The MIME is doing the classic routine of a man climbing a hill against a strong wind. He doesn't see the gumballs rolling toward him until it is too late. Desperately trying to maintain his routine, his feet start going out of control, faster and faster. he loses balance completely and falls ungracefully on his ass.

43. The BANK ROBBER dashes down the street, COPS giving chase, and trips on the fallen MIME. The sudden halting of his rapid forward motion sends him falling straight forward just as:

44. The oil painting is being carried out of the gallery to a nearby car. The BANK ROBBER goes head-first right through the painting.

[According to these early storyboards, an old man is kicked out of a deli and it is him who crashes through the painting, as seen below. In the final draft and in the film, it is the blind man. Strangely, the old man as drawn here is wearing the same earphones as the blind man

(see storyboard further up).]

45. On the other side of the painting, a TEENAGER dribbling a basketball is knocked down by the ROBBER. The basketball bounces and goes flying through the air.

46. It lands in the cooker of a Hot Fog Wagon, which has finally come to a stop against the side of a building. The heat causes the basketball to swell . . . and swell . . .

47. CLARK KENT, in civvies again, comes out of a doorway. 

48. ON THE BASKETBALL which swells to the bursting point and explodes. Pieces of rubber and strings of hot-dogs go flying into the air. 

49. On street level, LORELEI AMBROSIA comes jiggling down the street, still having no idea of the events she set in motion. 

50. Ahead of her, halfway down the block, a panel truck, its doors open, is parked in front of a bakery. A DELIVERY MAN emerges from the bakery, carrying a tray of custard pies. 

51. The bakery's DELIVERY MAN doesn't see the hot dogs rolling on the sidewalk. He steps on them, trips. This causes: 

52. A custard pie to fly up into the air, heading right for the unsuspecting kisser of LORELEI, who is walking the other way. 

53. CLARK spots what is about to happen and, with a very deft move, slides in front of the momentarily startled girl and, in the same motion, reaches one hand up and catches the pie neatly just when it was inches away from her face. Still in one smooth motion, CLARK whisks it away and out of sight like a very clever waiter, as LORELEI, who never noticed, continues on. 

54. What CLARK doesn't notice, though, is the bruised battered MAN IN THE CAP who turns the corner exactly at this second and walks smack-on right into the custard pie in CLARK's outstretched hand. CLARK Oh! Sorry about that. 

55. As the MAN IN THE CAP stands there wiping pie off his face, CLARK steps to the curb and waits for the light to change so he can cross. 

56. NEW ANGLE -- A big truck comes down the street. There's a large puddle on the gutter, the residue of an early morning rain. The curbside tires run through the water, causing it to splash CLARK. AS the big splash hits him, this is THE FINAL FREEZE FRAME and the FINAL (DIRECTOR'S) CREDIT. 

ON CLARK -- He looks down in mild dismay. His pant legs are soaking wet. Quickly, he turns and walks into the park entrance. FOLLOW HIM as he sits down on an unoccupied bench. Trying not to call attention to himself, he opens his newspaper, pretends to read it. It is today's DAILY PLANET. CLOSER ON CLARK -- He looks around to make sure nobody is noticing him. Nobody is. Satisfied, he raises his glasses and looks down at his wet pants. 

EFFECTS: The red rays of Heat Vision emanate from his eyes, aims at his pants as he extends his legs on the park bench. In a second, the pants are magically dries and re-pleated. 

                        CLARK
                    (to himself)
                   Neatness counts.

Satisfied, he continues to walk to work. As CLARK walks OUT OF FRAME, PAN UP to the second floor of a small building, the kind where there's a store on the ground floor and a few offices above it. PAN STOPS on the window, on which is lettered:

ARCHIBALD DATA PROCESSING SCHOOL

---

Where the storyboards above were mostly from deleted scenes, the ones below match
almost perfectly the sequence as filmed.