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This is a big deal. As Roger Feigelson of Intrada noted in this thread he began over at that board, we really have had no clue just how much unreleased music there was from this score, since large chunks of it went unused in the film (essentially making it a partially-rejected score, with another composer even coming in to write new cues for several sequences):
http://www.intrada.net/phpBB2/viewtopic.php?f=4&t=7704
We knew there were substantial cues in the film but not on the album, and substantial cues on the album but not in the film, and no idea how many cues might be neither in the film or on the album. Until now... it turns out that the complete written score (by Goldsmith that is, not the replacement composer Bill Payne) lies in the Academy library archives, and they now list all the contents (including official cue titles) on their website:
http://collections.new.oscars.org/Details/Archive/71302980
1-1 "Family Album (revised)," 2 pages
1-2 "The Posters," 2 pages
1-4/2-1 "The Assassination," 2 pages
2-3 "The Note (second revision)," 2 pages
3-1 "On the Bus (revision)," 2 pages
3-2/4-1 "You Win (second revision)," 2 pages
4-2 "The Accident," 4 pages
4-3 "First Words," 1 page
4-3a "The Photos," 2 pages
5-1 "Lost Luggage," 12 pages
6-1 "Repairs," 2 pages
7-1 "I Don't Mind," 1 page
7-3 "The Map," 1 page
8-1 "What's Going On?," 2 pages
8-2 "Roadside Incident," 4 pages
9-1 "The Visitors," 2 pages
9-3 "Pretending," 2 pages
10-1 "We're Not Alone (revised)," 3 pages
10-2 "Staying Behind," 2 pages
11-1/12-1 "The Motel," 10 pages
12-2 "The Locket," 2 pages
12-3 "Return Visit," 5 pages [photocopy only]
I have bolded cues that don't seem to be on the album (though perhaps the album's "Together Again" is a retitled "Return Visit"?)...it's also possible that some cues like the 12 page "Lost Luggage" might have been abbreviated for the album, and it also seems evident, with three cues marked "revised" and even two marked "second revision", that only the final written versions of these cues were saved in the Academy archive for this score. So if some label pursued a release, they might cover earlier recorded versions of these cues since Jerry was clearly trying to please the director, apparently unsuccessfully (seems almost as bad as Lonely Guy, but at least there Jerry was able to eventually get to a satisfactory final result without having his music replaced by another composer). With all of these cues, plus any surviving recorded alternates, plus everything written by Bill Payne that Roger says is "very nice piano music, in fact," I suspect a pretty full complete disc of music could be produced for this score. I wonder if it might be a possibility for Intrada, now that Varese is apparently willing to license perpetuity titles out to other labels (as they did with Jerry's two PotA scores for LLL's box set).
Yavar
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