A batch of music manuscripts in Elsie April's hand was discovered in 1998 in the Coward archives held in London.  Some of this was her manuscript of the piano arrangement of themes from the film soundtrack, which is note for note as it was published by Chappell.  However, there is a good deal more material, not so much the soundtrack itself as an assortment of themes, sketches, developments and fragments.  Much of the material is easily recognisable in comparison to the soundtrack, and many titles match what was published in the piano arrangement.  But there are also some titled pieces of music which do not appear to have been included in the soudtrack and/or publication: 'Arethusa' (one page, crossed out in pencil); 'Champagne Bottle 5' and Newspaper 20'' (two pages); 'Commander's March' (a short sketch only); 'Flotilla' (which starts as an exact copy of 'Ship Theme', but is then extended and invented over four pages); The Heavenly Moment' (sketch for a 32-bar love-ballad in waltz tempo, for which matching words with the same title were found elsewhere by Barry Day. When the complete song refrain was reconstructed it proved to be the original working of what emerged in 1954 as the refrain of LIGHT IS THE HEART - see main index); 'Odd Bit - Commissioning' (only the first bars of which match with those of the Allegro Moderato  section at the top of page 8 of the piano selection, otherwise no match, three pages of MS); 'Officer's Theme' (used on the soundtrack but not published, more than three pages of MS, and finished); 'Ripple 2' and Ripple Dissolves' (a 'Ripple 1' also in MS was used on the soundtrack); 'Ships' (a melody line only); 'Shorty & Freda' (which corresponds almost exactly with  'Waltz Theme' - published at No.6 in the piano selection - except  for the fact that this MS is in 4/4 time rather than 3/4, although being noted "waltz" at this point. There were/are therefore two 'Shorty and Freda’ themes.); and 'Suggestion For a Bit of the Boat'  (based on music of 'Ship Theme').
This was possibly intended for Samolan Operette .  An unfinished manuscript in Elsie April's hand with this title was found among the In Which We Serve  material (see above). The manuscript is also surtitled 'Between Scene I & Scene II of Act I'.  It may just possibly have been a leftover piece from pre-war. 

This is an anomaly: a seventeen-bar fragment in Eb major for piano, preserved originally in the Coward estate archives (London).   The script of the amanuensis is an elegant italic which speaks of an earlier era, and the hand is not that of Elsie April, whose earliest work for Coward dates from 1923.  MSS of the songs SIX (preserved without words) and TEMPERAMENTAL HONEYMOON (used in London Calling! ) exist in the  same amanuensis hand, so a date shortly before the advent of Elsie April would seem most likely.   It is tempting to advance a possible connection with the abortive ‘CRISSA’ – see Appendix 1c above.

The title of an instrumental fragment in the manuscript vocal score of The Girl Who Came To Supper, in the Warner/Chappell archive. The piece occurred near the start of Act I at the Grand Duke (Regent)'s entrance.  Originally only 12 bars of mysterious spy-type music, cut by pencil markings to just 5 bars, it marked the entrance of the Regent's bodyguard taking "certain precautions" in advance of the Regent's own entrance. Originally titled ENTRANCE OF SS MEN, it is immediately followed by 'Yazni Kozkolai'. It is clearly only a short musical pastiche of what would instantly be recognised as 'melodrama music'.  It was later replaced by an eight-bar brassy passage based on the music of 'The Coconut Girl' song.