Dear colwood: We sometimes begin to spin our wheels here.
I've had my say on this at least twice.
I defer to you because I no longer have a copy of THE CITIZEN KANE BOOK, but my memory of American, in contrast to "the cutting continuity," is that it is a very different work, and of course, not a shooting script at all. And the script to which I refer is quite different yet.
What should be clear, as a number of those close to the project suggested at one time or another, is that there were a number of parallel versions and revisions, and that Welles, as you suggest, improvised scenes and bits on the set, such as the history of Charlie and Emily's marriage, which were not in any of the revised versions of the script at all.
The copy I am referring to Orson & Jazz is before me. As I've written, its cover states: CITIZEN KANE by Herman J. Mankiewicz and Orson Welles, June 18, 1940.
[Total manuscript: 209 pages.]
It is a shooting script.
The text begins with the opening scene we are familiar with, but without the fence and the NO TRESPASSING sign. A page for MAIN TITLE and CREDITS follows. And then, "News Digest," which is similar to "News on the March," except that references are made to Pulizter, Bennett. Norcliffe, McCormick, Hearst and a number of other press tycoons, of whom Charles Foster Kane is said to be one of the most important.
The story continues rather closely to what we know until Page 59-60, where a brief scene of Thatcher on a train, looking down on weeping little Charlie, and an entry critical of Kane from Thatcher's Journals are recorded. These have been replaced by the "christmas sled" sequence you indicate.
We move through Bernstein's memories, with some re-arrangement, as the action goes directly to the entry of Kane and "Bradford" Leland into the Inquirer Offices. A portion of the scene in which Kane lays down rules for the paper at PP. 83-86 is not in the finished film.
A montage of headlines involving the "Declaration of Principles," and introducing the party, PP. 92-93, is not not in the film; ditto another with Remington's drawings of conditions in Cuba, more growth of the Inquirer, the courtship of Kane and Emily, their marriage and honeymoon, PP. 97-103.
The "brothel sequence," PP 112-117, as you note, is gone.
Following the elimination of a lawyer's letter concerning Emily's divorce action, the next major cut in this script occurs between PP. 122-130, which involves Kane's arguments with Emily over corruption in the President's Administation (her uncle) over oil leases, Kane's editorial attacks on the President, an almost successful plot to assassinate the President, and arguments how the Inquirer will handle blame for it. The latter argument is further edited from PP. 132-134, in which Leland broaches the fact that Emily intends to leave Kane over the scandal.
An argument, not unlike a later one with Susan, between Emily and Kane around the crib of young Charlie, Jr., PP 138-140, in which he begs her not to leave him, is omitted from the picture.
A scene at PP. 157-160, between Leland and Emily, suggesting a romance between them, will be omitted.
Presumably much of this action was abridged in the "swish pan marriage montage." All of this material, including Susan's disasterous debut and the City Room scene are attributed to Leland, over to P. 164.
Thompson interviews Susan, including a couple of scenes rearranged in the finished picture, to PP. 195.
Raymond enters the story, but a scene between him and the estate telephone operator, which discusses Susan's press release of her separation (before she has told Kane) disappears.
There is no scene between Kane and Susan, and the one we have seems to have been drawn and intensified from the one I've mentioned (in a nursery) between Kane and Emily.
Immediately following, Raymond sets up the scene at the crypt, PP. 199-201. [This is where we came in.]
There are only two other cuts in this script afterward:
1) At P. 207, Thompson delivers a rather sympathetic eulogy for Kane to his reporting team.
And 2) at P 208, there is a direction, which may or may not have been omitted -- I always forget to look: "He [Thompson] picks up his overcoat -- it has been resting on a little sled -- the little sled young Charles Foster Kane hit Thatcher with at the beginning of the picture. Camera doesn't close in on this. It just registers the sled as the newspaper people, picking up their clothes and equipment, move out of the great hall."
Raymond gives the order: "Throw that junk in, too."
And CITIZEN KANE ends as we remember it.
All I'm asserting is that, as in most films, there is no one definitive script for Welles' masterpiece.