Barbra Archives ON A CLEAR DAY pages

“Come Back to Me” — trimmed for Final Film

Cut Scenes from “On A Clear Day You Can See Forever” —Page Ten

“Come Back to Me” was scripted and filmed as a longer musical number, with dialogue scenes interrupting the sung verses. After reading the 1968 screenplay and viewing the final film, some of the edits are obvious.

The final film set up the song with a scene which was actually from what was originally conceived as the middle of the song!

Come Back to Me

Marc Chabot was on the telephone (note: white shirt and black tie!) trying to contact Daisy. Mrs. Hatch was clearing out dead flowers. Marc tells Mrs. Hatch, “You've done the impossible. You've given my depression a depression.”

Then watch as Marc starts to stand up ... The film cuts to helicopter shots of New York city and Marc atop the Pan Am building singing the first verse of “Come Back to Me”.

Come Back to Me on Pan Am Building

“Come Back to Me” then proceeded to unfold on film as it was written in the 1968 script: Daisy hears Marc (a) in cooking class, (b) on the street, (c) in a store.

First stanza of Come Back to Me

Clever Streisand fans may notice that when they cut back to Marc saying, “Damn you, Daisy Gamble, where are you? Why can't you pick up a phone?”, that he is wearing the exact same costume as the first scene ... that's because the scene with Mrs. Hatch was actually written for this point in the song!

Streisand wears outlandish zebra outfit

After the French poodle sang in French to Daisy, there was another verse of “Come Back to Me” which was filmed and omitted. Many fans have assumed that Barbra's crazy outfit was for a futuristic sequence. However, it was for this short, omitted verse in “Come Back to Me”—literally a few seconds of film:

184A. EXT. The Zoo - Central Park. (Day).

As Daisy rushes by the cages, the animals look at her and each in turn sounds like Marc. (The cages along the walk leading to the 57th Street exit.)


In a diaper and pins,


In your snorkel and fins.


Come alone or as twins.


Come back to me ... Come back to me... Come ...!

Believe it or not, in the 1968 screenplay of On A Clear Day, “Come Back to Me” continued after the French poodle! (The final film simply took the remaining scenes and moved them around — before the number!)

Using the screenplay as our guide, these scenes would have come next. They were inserted between more verses of “Come Back to Me”: (a) Conrad reveals to Marc that Melinda Tentrees historically existed, (b) Warren and Tad talk about Daisy, (c) Daisy confesses to Warren that she is Dr. Chabot's patient.

More scenes from Come Back to Me

(Again, in the final film, scenes a, b, and c were placed before Yves Montand even started singing “Come Back to Me”.)

Back to the original screenplay ... Following scenes a, b, and c was an omitted scene between Marc and his estranged wife, Pam. Marc spoke to her on the phone. The scene wrapped up the Marc-Pam subplot. She confessed to Marc, “You're the last person on earth I would have expected to find doing research in reincarnation. It's so touching ... It's so hopeful. It's exactly all the things I always said you were not.” The scene hinted at a reconciliation between the two.

Finally, in a scene which was retained for the film, Marc sang the last verse of “Come Back to Me” and psychically bothered Daisy enough to make her barge into his office yelling, “Would you stop bothering me?”

Scene 195. — trimmed/rewrite. INT. Marc's Office.

Daisy and Marc in final scene

Dr. Chabot and Daisy's goodbye was different in the final film than in the screenplay.

In the film, Marc asked, “Daisy, have you ever been to Virginia?” and Daisy, clueless about her future reincarnation as “Mrs. John Caswell,” said no.

In the 2ND DRAFT screenplay, the dialogue went like this:


Daisy, have you ever been to Virginia?

Daisy stops as something flashes through her mind.


Doctor, do you believe that?


Yes, I do.


I do, too.

The 1968 screenplay implied that Daisy remembered her future and was content with it, as was Marc.

Summary of Cut Scenes

On A Clear Day You Can See Forever is one of Streisand’s most memorable films. Its music, costumes, and settings were impeccable. One can’t help but feel that the film is somewhat incomplete without the footage that was cut out. Perhaps Clear Day, like Daisy Gamble, will one day be reincarnated in another form.

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