This past week, the BERLIN AND BEYOND Festival welcomed Stefan Drossler, the director of the Munich Film Museum to San Francisco for the American premiere of the rare German silent film, NATHAN THE WISE (with Werner Krauss and Max Shreck).� And while Stefan was here, he was able to offer a screening of his work in progress on�JOURNEY INTO FEAR to a select group of Wellesnet’s San Francisco members. Among�them was a young Persian Welles fan (and relative of Medhi Bouscheri), Medhi Dara Alavi. I felt this was most appropriate, in light of the cut dialogue in the new version that refers to the past glories of the Persian Empire in Iran and ties JOURNEY INTO FEAR into Welles last film, THE OTHER SIDE OF THE WIND.
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But the real eye opener for me was that much of the cut dialogue (mostly due to censorship concerns) refers to God, religion, socialism and sex. In fact, it is�quite�strange how overlooked this film has been in the Welles canon,�simply because the 69 minute version was so badly mutilated by RKO. Naturally, no one, including myself, really thought of it as a true Welles film, or that it was any great loss.� Possibly because it was clearly directed by Norman Foster for the most part. But this new version, along with the RKO-Welles memos, indicates to me that Welles really had his hands all over the project. One of the biggest changes confirms this. The�opening title now reads: Orson Welles’ Mercury production of JOUNEY INTO FEAR.
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With that title�restored,�so is Welles’ ownership of the film. Obviously, the film was meant�to be a much more�commercial venture than KANE or AMBERSONS, but it also contains some incredibly interesting�comments about life, death, war and many other issues that seem to resonate in today’s world.�But perhaps what struck me most was that this film might actually be the truest record on film we have of all the Mercury players that Welles had worked with in New York. Many of the�Mercury actors and assistants only had a film part in Welles�third and final film at�RKO,�including Eustace Wyatt, Frank Readick, Herbert Drake, Robert Meltzer, Shifra Haran and Jack Moss.

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Stefan is most grateful for all of the Wellesnet members who commented on the new version of JOURNEY INTO FEAR on the messageboard, but I would like to especially thank Roger Ryan for noticing and commenting on the variant print versions of JOURNEY INTO FEAR that came to light at the Locarno Film Festival, and M Teal for posting his important notes on the script of JOURNEY INTO FEAR.� I think it really shows how collectively,�we the people at Wellesnet have most definitely become a very useful force in the ongoing task of preserving and protecting the work of Orson Welles.

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JOURNEY INTO FEAR
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RKO-Radio Pictures, 1943
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Previewed at 91 minutes, in August 1942. Final version released in America on February 12, 1943 at�69 minutes.�A version sent for�European distribution was�71 minutes.�

The�European version has about five to eight minutes of completely different scenes than in the American release print. �� ��

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A Mercury Production

By ORSON WELLES

Directed by Norman Foster
Screenplay by Joseph Cotten and Orson Welles
Cinematography by Karl Struss
Art Direction by Albert S. D’Agostino and Mark-Lee Kirk
Set Decorations by Darrell Silvera and Ross Dowd
Gowns by Edward Stevenson
Special Effects by Vernon L. Walker
Music by Roy Webb
Edited by Mark Robson
Sound Recording by Bailey Fesler and James G. Stewart
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THE CAST��
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Joseph Cotten as Howard Graham�Ruth Warrick as Stephanie Graham�

Dolores del Rio as Josette Martel�Jack Durant as Gobo�

Agnes Moorehead as Mrs. Matthews�Frank Readick as Mr. Matthews�

Eustace Wyatt as Dr. Fritz Haller�Shifra Haran as Mrs. Haller�

Jack Moss as Peter Banat�Edgar Barrier as Kuvetli�

Everett Sloane as S. Kopeikin�Orson Welles as Colonel Haki�

Frank Puglia as Colonel Haki�s assistant�Richard Bennett as The Ship�s Captain�

Stefan Schnabel as The Purser�Hans Conreid as Oo Lang Sang, the Magician�

Robert Meltzer as a Ship�s Stewart�Herbert Drake as a Ship�s Stewart�

George Sorel as the Hotel Desk Clerk �++++++++++++++++++++++++

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SCRIPT EXCERPTS�- WITH CENSORSHIP NOTES��

As posted by M TEAL

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GRAHAM’S��HOTEL ROOM IN ISTANBUL

KOPEIKIN: How was Galipoli? Not the same as the Good-old U.S.? Miss the Great White Way, Mrs. Graham? Broadway?
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GRAHAM: Haven’t you got any better accommodations?
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(Kopeikin screams at the Hotel Manager in Turkish- Graham says he wants a bath)
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BATHROOM – A huge bathroom and a huge tub with tremendous spigots. Kopeikin starts to say something to Graham, but Stephanie walks in. They turn the spigot, and hear a huge pipe roar.� Only a thin, dirty trickle comes out of the faucet.
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DISSOLVE TO:
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HOWARD IN BATH – KOPEIKIN IS WATCHING HIM
Water has been brought in and is still being brought in.
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KOPEIKIN: You like Turkish girls better then Ginger Rogers?
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STEPHANIE: Howard! The young man who brought the water wants a tip! Now a waiter’s here!
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KOPEIKIN: I’ll find the chef! (Softly to Graham) I have lady friends.
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ISTANBUL HOTEL ROOM � DINNER SCENE GRAHAM, STEPHANIE AND KOPEIKIN
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Howard feels his tooth
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STEPHANIE: Your mother’s too young to have her teeth pulled from rheumatism.
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KOPEIKIN: Your husband and I have some affairs to discuss.
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When Kopeikin takes Graham downstairs and into the street, menacing looking Turks in uniform start to trail them. Graham calls Kopeikin ‘Serge’. The uniformed Turks are still trailing them as they enter the Cabaret.
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INTERIOR – THE CABARET�

KOPEIKIN: You should see the girlies
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CHANGE: This line was changed to ‘You should see the chorus’, to soften the implication that the nightclub is really a whorehouse in disguise.
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KOPEIKIN: They got plenty of girlies.

CENSORSHIP NOTE: Shoot (this line) so it can be cut without hurting the rest of the scene.

Pavlik, the Russian owner of the nightclub speaks Russian with Kopeikin. A girl sits down.
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KOPEIKIN: Ah, my little Jane, a Eurasian, she’s recovering from a sore neck.
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The girl wants a tip too. Graham gives her 100 piastres.
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KOPIEKIN: Fifty would have been plenty.
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CENSORSHIP NOTE: This line was cut as a possible insult to Turkish critics. Fifty piastres was the equivalent of about 40 cents.
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Josette joins them.�
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KOPEIKIN: I drink to you both. You’re both going to Tiflis. You’re both friends of mine so you have (pats his stomach) much in common.
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CENSORSHIP NOTE: Please cut this action (patting his stomach).
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During the magic act, an angled cross is brought on stage, resembling ‘a relic of the Inquisition’, as the magician prepares a trick taught to him ‘in the mountains of India’. Also, a coffin is brought out.
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After the Magician is shot Kopeikin takes Graham to:
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HAKI’S OFFICE
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KOPEIKIN: Haki was a deputy in the provisional government in ’19, one of Atakurk’s men.
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CHANGES – 1/24/42: All the people�waiting for Haki were at the nightclub. Originally they were�rounded up for questioning.
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HAKI�S ASSISTANT: Col. Haki will see Mr. Howard Graham.
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CHANGE: In earlier versions, they just went into Haki’s office alone and unannounced.

INTERIOR – HAKI’S OFFICE �

GRAHAM: Nobody tried to kill me.
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Haki looks quickly at Kopeikin.
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KOPEIKIN: I didn’t tell him anything! He thinks I’m hysterical.
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HAKI: It’s the fate of you Russians to be misunderstood. (To Graham) The military situation demands that the new equipment and torpedoes be in our dockyards by spring. Suppose you had been on the magician’s cross when the shot was fired. If a new man is sent, the spring will be here and the ships in Izmir and Gallipoli will not have their guns and torpedo tubes. Alive, you’re worth something to the Turkish republic. A plot to kill you was discovered in Gallipoli.

Haki talks to Kopeikin in Turkish, telling him to inform Stefanie that Graham will be taking the boat to Batum.�

MISSING SCENE: Scene of Stephanie crying after Kopeikin has told her about Graham.��
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Haki goes into the details about the plot to kill Graham by Moeller and Banat.��

Banet is a Romanian province, and obviously not his real name. They have traced his activities from Sophia. By train, Graham would have gone to Tiflis. By boat, Batum (The boat is called “Persephone”).
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OUTSIDE HAKI�S OFFICE
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Josette and Gogo speak to each other in Basque. Haki mentions that Graham will have Josette for company on his trip to Batum.�
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GRAHAM: I’m a married man
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HAKI: The American point of view � one cannot reason, one can only stand amazed.
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CENSORSHIP NOTE: This line was ordered cut as it presents a Turkish ranking official as being without morals. Also if Josette does NOT know that Graham is a married man, the censorship problem is vastly reduced. The Catholic Legion of Decency also had problems with Josette and Gogo being married, so they were made partners, instead.��
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GANGPLANK OF THE SHIP BOUND FOR BATUM
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As Graham enters the boat, a Cockney man and a French woman are heard arguing about whether the sheets are damp or merely cold.
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INSERT CUT FROM SCRIPT: Graham looks at his revolver, which says �Made in U.S.A.� by an American typewriter manufacturer (storyboards indicate REGAL).
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Josette and Graham together: Josette says she and Gogo will starve if they can’t get a dancing engagement in India. Many dance places are closed because of the war. Josette philosophizes that ‘Starving is good for the figure. One grows fat in Istanbul.’
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JOSETTE: I tell you everything. About you I know nothing, except that you have a nice house.
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DINING ROOM ON BOARD THE�SHIP
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Kuvetli introduces himself to Graham as a tobacco seller.
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JOSETTE: They are heathen animals, these Turks. In the last war (America) fought against them. They killed babies with their bayonets.
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GRAHAM: Personally, I like the Turks.
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CENSORSHIP NOTE: Mr. Breen cautions that not only censorship, but also our own State Dept. will strenuously object to this!
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MISSING SCENE (ADDED IN RESTORATION): Haki meets Stephanie in her Hotel room. Implies that Howard has run off with another woman and then (very discreetly) attempts to seduce her.
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DINING ROOM�ON BOARD THE SHIP
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DR. HALLER: The French lady called me a filthy Boche. Greek cooking is monotonous without conversation.
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GRAHAM: I agree.
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Dr. Haller has come from Persia, investigating pre-Islamic cultures. He says he has proof that ‘the tribes that moved into Iran 4,000 years ago preserved and assimilated Sumerian culture intact and preserved it after the fall of Babylon.
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HALLER: The world is too preoccupied with it’s own destruction to worry about such things. A condemned man is only interested in himself. I helped in the search for logic of history. We should have made of the past a mirror with which to see around the corner that separates us from the future. Unfortunately, it no longer matters what we might have seen. We are returning the way we came.
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GOGO: War! Makes it difficult to earn money. Let Germany have all the territory she deserves. Choke herself with it. Then let us go to Berlin and enjoy ourselves.
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CENSORSHIP NOTE: Again, Mr. Breen cautions about the State Dept. The contention being that the picture will be seen by thousands in Latin America where agreement with speeches could bring applause and then riot.
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CHANGE: In the original script, Gogo was a Spaniard named Jose.�His line ‘I take no sides’ was originally meant to refer to the Spanish civil war, as follows: ‘In the Civil War, I took no sides.’� Breen obviously didn’t want Gogo to be seen as a Spaniard.
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MATHEWS: But if the Reds had won…
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MRS. MATHEWS: The Reds violated nuns and murdered priests.
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CENSORSHIP NOTE: The Church Legion of Decency will object to the end on this. Also, very delicate (politically). Reds are our allies.
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MATHEWS: War is the last refuge of the capitalist.
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MRS. MATHEWS: Take no notice. He is a good Englishman.
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THE CAPTAIN’S ROOM
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The Captain thinks Banat is a Greek businessman and tells Graham they cannot radio Col. Haki as they are no longer in Turkish territorial waters.
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CHANGE: The Captain speaks only Greek in the script. In the movie he speaks several languages. And just as Breen did not want Gogo marked specifically as a Spaniard, he also did not want the Captain marked specifically as a Greek.
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THE SHIP’S DINING ROOM� � GRAHAM, JOSETTE,�GOGO ���
MR. & MRS. MATHEWS.��AT THE NEXT TABLE IS THE GREEK WOMAN IN A VEIL.��

MATHEWS: Banking! What is it but usury? Today the usurers are the Gods of the Earth, and the only mortal sin is to be poor. Bankers want banking to be a mystery too difficult for ordinary men to understand. How else can they make two plus two equal five? The bankers are the real war criminals. Others do the killing while they sit in their offices and make money.
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Gogo imitates an aristocratic Englishman while ordering a drink. Josette tells him to stop, but Graham defends him.
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GRAHAM: Many Englishman who’ve never been to the Pyrenees think all Basques smell of Garlic.
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CHANGE: Banat originally had some lines with Kuvetli about where he was going.�Mrs. Mathews talks about the Greek woman’s husband who was shot by soldiers.
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MRS. MATHEWS: It was the will of God.
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MATHEWS: He is a comedian. I have noticed it before.
CENSORSHIP NOTE:�The Breen office wanted this statement rephrased as a question: ‘He is a comedian. Don’t you agree?’ �
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MRS. MATHEWS: Don’t blaspheme.
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MATHEWS: It is you who blasphemes. You talk of God as if he was a waiter with a flyswatter… but the good God is not like that. He does not make wars and tragedies. He is of the mind.
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Mathews then says how the Greek woman is the heroine of a tragedy. But she tells the story of her son to ease her mind with an audience.
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MATHEWS: Without an audience, there is no tragedy.
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GRAHAM AND JOSETTE ON DECK
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Graham and Josette discuss her stealing Gogo’s gun as Graham’s is now missing. Josette says Gogo will play cards with Banat while Graham searches Banat’s room. They kiss. (see still of the kiss on messagboard).�
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After Graham searches Banat’s room, he comes back to find Haller in his own room with his gun. He reveals he is really Moeller. He took the name of Fritz Haller�and his speeches on Sumerian civilization from Haller’s book.�

HALLER: My only embarrassment is the half-wit Armenian lady posing as my wife.�

(This dialouge indicates that Mrs. Haller’s scenes were filmed and subsequently cut. This is important�since�Welles secretary, Shifra Haran,��played Mrs. Haller).��
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Haller tells Graham that, thanks to earthquakes, Turkey has a Typhus epidemic, so Graham can be scuttled away, pretending to be a typhus victim. Haller promises Graham that Josette can be made to come along, if�he agrees to the six-week ‘holiday.’
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KUVETLI�S CABIN
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Kuvetli in his meeting with Graham takes it in stride that Graham is involed with�Josette. He threatens Graham with the accusation that he took bribes to sabotage Turkish naval preparations.
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KUVETLI: I fought with Gazi for my country’s freedom. Could I let one man endanger the great work we have done?

GRAHAM AND JOSETTE WALKING ON DECK OF SHIP
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Graham tries to get Josette to go with him and Kuvetli ashore, as he says she probably knows the ports well. This insults her, as she doesn’t think he meant from her “dancing” engements.�Josette and Graham talk about Gogo’s attitude that ‘humans are animals’. He is amoral, indifferent to morality.
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JOSETTE: He says it was the people who are safe and well fed who invent good and evil so they don’t have to worry about those who are hungry and unsafe.
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The boat docks and Graham gives the steward a letter for Stephanie saying he loves only her. Haller and Graham talk about Kuvetli while Banat’s French record is heard playing in the background.
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BATUM � HALLER AND GRAHAM
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HALLER: This matter of the Adonis myth… the weeping for Tammuz was always a focus of pre-historic religions. Tammuz, Osir, Adonis are the same Sumerian diety, but the Sumerians call him Dumizida. So did the pre-Islaamic tribes of Iran. They had their own variation on the Sumerian epic of Gilgamesh and Enkidu.
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Batum is in Russia. Stephanie says she has a dinner date with Haki, who traveled all the way from Istanbul with her.

ALTERNATE ENDING (see still on messageboard): Col Haki accompanies Josette up the gangplank on the ship back to Istanbul.

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JOURNEY INTO FEAR

Differences in the American and European versions�

By Roger Ryan�

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1) The credits are reportedly at the very beginning of the film prior to the scene with Jack Moss as Peter Benat loading his gun in the hotel room. I say “reportedly” because Stefan told me that the gentleman who provided the print changed the placement of the credits himself because he was only familiar with the general release version which featured the hotel room scene as a prologue, and thought this print was in error for placing the credits prior to this scene.

2) A simple map establishing the story’s location as “Istanbul” appears on-screen, then wipes off in a fashion which provides a fluid transition into the opening crane shot which takes us to the window of Banat’s hotel room.

3) Joseph Cotten as Howard Graham does not provide any narration in this version of the film! �Instead, the hotel lobby scene, the encounter and subsequent dinner with Kopeikin (Everett Sloane) and the visit to the cabaret are all longer, revealing the plot through dialogue and action. Most notable during these early sequences is how Sloane’s character is more developed and is played for more laughs.

4) The introduction of Colonel Haki (Welles) is also extended and he delivers one anecdote regarding soldiers dying for a cause which was cut from the general release version.

5) I was quite excited to see a previously unknown scene between Haki and Graham’s wife (Ruth Warrick) which takes place in her hotel room after Graham has been sent away on the steamer. Played almost exclusively for laughs, Haki insinuates that Graham may have left because of a woman, then starts making moves on Warrick! This establishes a relationship which adds more humor to the scene near the film’s end when Graham learns that his wife has invited Haki to dinner.

6) The biggest changes in editing occur during the shipboard sequences. All of these play much smoother than in the release version. Significantly, at one point prior to the character of Benat appearing in the dining area, the skipping record that played in the film’s opening scene can be heard as Graham climbs the stairs to the second deck. He doesn’t recognize the importance of the recording, but the audience does and it helps to create some more suspense. 7) As I mentioned, the editing is less abrupt during the shipboard scenes. I was astonished to find a very well-shot scene showing Graham leaving his room, stubbing out his cigarette, and walking slowly down the hall to the room of Kuvetli�(Haki’s agent on the ship). The camera tracks backward in front of Cotten at an unsettling tilted angle which helps to build suspense before Kuvetli’s body is discovered (in the released version, the scene simply fades in as Graham discovers the corpse with no preparation at all).

8) The film’s ending is in step with the more humorous tone of this alternate version. After both Muller and Benat have been shot and/or fallen to their deaths, Graham remains on the hotel ledge as his wife looks up at him in the rain. “Howard, is that you?,” she says. “Get down off that ledge this minute!” The camera then cuts to Cotten who has a look of chagrin on his face as he peers down at his wife and the scene fades out followed by “The End.” In Stefan’s new restoration we go back to�the ending in the hotel bar, where Graham finishes writing his letter as�Col. Haki comes in and pours himself a drink.��

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When Welles returned to New York from Rio, he met with RKO’s new boss, N. Peter Rathvon and came to an agreement that would allow him to finish the editing of JOURNEY INTO FEAR, but only under the very stringent conditions outlined in this memo.��

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N. PETER RATHVON TO ORSON WELLES
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Oct. 19, 1942
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Dear Mr. Welles:
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This will confirm our agreement as follows: You will go to Hollywood, to arrive there not later then Oct. 23rd, to do recutting on Journey Into Fear. This work shall be finished within 14 days after your arrival in Hollywood and during this period you shall have the use of an office and a cutting room and the exclusive services of one cutter, or two if necessary. It is understood that you shall make no retakes or additional scenes except for one additional scene to be made in one day. This scene shall require the services of no actors except Joseph Cotten and a bit player, and no set expenses shall be involved in excess of $800. The making of this scene is conditioned upon your securing gratis the services of Mr. Cotten. Your work at the studio shall be under the supervision of Mr. Charles Koerner. The cutters, cameramen and others whose services shall be used shall be people assigned by Mr. Koerner. You shall be allowed reasonable travel and living expenses, but shall receive no compensation for this work. A press release acceptable in form to you and to us shall be issued by us, and otherwise no statements or publicity shall be given out by you or us unless by mutual agreement.
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There exists a controversy over your employment by us in the making of the picture It’s All True. It is expressly understood between us that the additional work on Journey Into Fear herein contemplated, shall in no way affect this.�