As I sat in the Ransom Center, I began to put the pieces together. I had the screenplay draft and the image of Fontaine eating chicken. However, one thing didn’t make sense: if that scene was never filmed, why was the press photo taken? I couldn’t figure it out. I flew back to Vermont unsure of what to make of what I found.

A few weeks later, as I prepared to write this Scalar book, I sat down and popped in the Criterion Blu Ray of Rebecca. As I watched the honeymoon scene, I found the moment I was looking for. At the close of the honeymoon scene, Maxim and “I” enjoy a picnic, in front of a car, and appear happy. In the scene, “I” is wearing the same outfit as the one she is wearing in the press photograph. Thus, the chicken-eating scene from the screenplay draft does, in a way, make it into the final film. Watch the honeymoon scenes final moments (top right) and compare them to the photograph of Fontaine (bottom right).

Hitchcock scholarship on Rebecca often examines this scene in particular because it is his own. In Hitchcock: The First Forty-Four Films, Chabrol and Rohmer note that the honeymoon scene was one of very few added scenes, and that it “has the triple advantage of summing up the honeymoon, underscoring Maxim’s strange reactions, and being a comedy festival” (Chabrol and Rohmer 1979). Maxim’s strange reactions are what I explored in my video essay that preceded this chapter; they are indicative of his inability to escape the past and his want to start anew. As far as humor is concerned, I will have to disagree with Chabrol and Rohmer. Nothing about the scene is funny to me. In fact, I would say it is this scene that best illustrates not only the instability of their relationship, but of both Maxim’s and “I”’s psyches. Later in their discussion of Rebecca, Chabrol and Rohmer note that with the film the “‘Hitchcock touch,’ which has previously been merely a distinguishing feature, becomes a vision of the world. Spontaneity submits to a system. This is a critical moment for an artist, for he must not develop tics, a pedagogical fury.” Thus, Chabrol and Rohmer see Rebecca, as I do, as an essential film to understanding Hitchcock as an auteur. It is with moments like the honeymoon scene that Hitchcock’s establishes his view of the world. He comments on the nature of relationships, how they are often unstable and unpredictable, and dominated by the past and one’s own insecurities. While Chabrol and Rohmer were most likely unaware of the chicken eating sequence, a fun coincidence is that a press photo of Maxim and “I” on the very same picnic is used in the book.