Catchfire (aka Backtrack)
Compared are the Theatrical Cut
(German Tape, released by Concorde and rated FSK 16) and the Director's Cut by Dennis Hopper
(US Tape, released by Avid Home Entertainment).
This attempt to establish as a director finally became the most tremendous annoyance for Dennis Hopper in his career. Very ambitioned and with an impressive cast (young Jodie Foster, Joe Pesci, Vincent Price, Charlie Sheen, Fred Ward & John Turturro) Hopper filmed his own vision of a killer who falls in love with his victim and is finally chased by the cops and the crooks.
He was really proud when he presented his epos with a running time of approx. 180 min to the producers. Despite the fact that only a few people had the pleasure to watch this version as a preview, not accepting this version was probably the right decision, especially if you consider the other versions.
The final result of this vision makes one feel blue: the film was roughly cut, from a running time of 3 hrs. to 1 1/2 hrs. to reach an acceptable running time for theaters. That's the reason why Dennis Hopper didn't want to be in charge for this film anymore, so his name in the credits was replaced by the very busy "Alan Smithee". Joe Pesci didn't wangt to be more connected with this film anymore, so his name was scretched in the credits (Theatrical Cut + Director's Cut). Alex Cox' & Tod Davies's names, those guys wrote the screenplay, were scretched as well.
Only 2 years later the director and leading actor Dennis Hopper tried to save the film and came up with another version. It was released as Director's Cut in the US and Dennis Hopper was mentioned as director. Even though he hadn't agreed with his producers, he decided to release another shorter version (running time almost 2 hrs.). A further version doesn't exist.
Dennis Hopper considered the first version as sth. like an early workprint (which is actually true). He removed a lot of scenes from the first one, added new scenes, replaced some scenes by alternate footage, changed the order of some scenes etc. But which version is finally the better one? The answer's simple: the Director's Cut is the version which should be preferred. The details are more suitable to the rest of the story plus less plotholes are the main reasons for this version (not to mention that Jodie Foster looks hotter in the DC).
But nevertheless none of the versions makes the film itself really good because the story remains unchanged and that's the thing. The weird love story of the killer and the victim is still the same. It can't matched with a genre but it's what the focus is on (in the DC even more than in the TC). The parts of the story of the police men and the mafia become almost meaningless and don't support the rest of the film. As a result of that, the film doesn't have any particular direction. It's too conventional for experimental cinema and too experimental for a conventional thriller because there isn't much suspense & thrill in it. The DC doesn't change that.
The index time always refers to the TC.
The remaining difference is due to the NTSC/PAL difference, more logos at the beginning of the DC and the rounding of the running time of the scenes. Furthermore irrelevant extensions/cuts below 1 sec aren't considered.
Running Time Theatrical Cut: 1:34:58 min (1:31:44 min credits excluded) (PAL)
Running Time Director's Cut: 1:55:30 min (1:52:35 min credits excluded) (NTSC)
Extended / Alternate, extended scenes in the Director's Cut
: 25 min 57 sec (NTSC)
Extended / Alternate, extended scenes in the Theatrical Cut
: 8 min 45 sec (PAL)
Alternate shots: No differenceOpening credits:
Different logos in each version, slightly extended in the TC. (left TC / right DC):
The actual opening credits are completely different in both versions:
- The scene with Anne, her collegue and a technican in her working area appears much ealier in the TC. Furthermore the order of the scenes is different.
- In the DC Anne listens to one of her radio interviews, which was mentioned in the scene before, while she's driving. This interview is missing in the TC and so are any clues to it.
- In the TC director Dennis Hopper uses the synonym "Alan Smithee" because he distanced hisself from that version; in the DC his name appears as director.
First the opening credits: as already mentioned, the scene with Anne appears much earlier in the TC. That's why it's shorter here. In opposite to that, the credits are extended while Anne's listening to the radio interview.
The scene with Anne and her collegue is interrupted by the radio interview, as already mentioned. There are many change of scenaries in the TC, but in the DC it's just one scene (more or less) plus it's shorter in the DC.
The other scenes of the opening credits are logically different as well. In the TC Anne seems to be bored while she's passing the industrial area, but she keeps on listening to the radio interview in the DC. The TC is quite longer here because the complete opening credits appear in this version.
The first scene both versions have in common is the flat tire.
The TC is radically longer here.
Anne becomes witness of a mafia homicide:
Different order of the scene, which shows the left front fender of the car, in both versions.
Extended shot in the TC to present "Alan Smithee" as director.
Extended scene in the TC that shows Anne getting out of the car earlier.
Alternate footage in the DC when Anne turns around while she's sitting. Furthermore the ad banner (of the gas station) she notices only appears in the DC. The TC shows Anne instead.
Extended shot of Anne running down the side of the hill in the TC.
In the TC Anne runs out of the image. The following shot, which shows Carelli talking to the man in the white suit, begins earlier in the TC. In the DC a part of the dialog appeared in the scene before to compensate the shorter scene.
Earlier beginning of this shot in the TC. Carelli grabs the man in the white suit and pushes him towards the car.
Carelli lets earlier off his victim in the TC. The victim goes down and he bends over him.
Different shots of Anne in each version. She looks much more scared in the DC but then again the shot in the DC is shorter than it is in the TC. The following scene, which shows Anthony getting killed, also begins earlier in the TC. As a result of that one can see the first hit in the TC which is missing in the DC!
Camera panning to Carelli in the DC, he also recognizes Anne.
Different order of the scenes and alternate footage of Anne's escape from the mafia in each version. There are more shots of the yelling Carelli and the not-moving Luponi in the DC.
The DC is slightly longer.
From now on both versions are different. There's only one shot of the leaving van in the TC. Then the police station; but we also see Pauling, who talks to the dpmt. mangager, here while Anne is making a phone call. This conversation starts earlier in the TC (nothing relevant).
In the DC instead Anne talks to the people who have picked her up on the freeway. Then the change of scenary to the police station where Anne talks to a police man to file a charge.
The TC goes on here: Pauling and the head of the department are talking in the office and Anne is being picked up by her boyfriend Bob. These scenes are missing in the DC.
First assault on Anne:
In the DC Bob appears earlier on the phone. The TC shows Anne in front of the fridge instead.
This scene is longer in the TC. Bob passes the threshold, Anne sits around thoughtfully. In the following scene Bob comes earlier in the bed room in the TC. Instead the DC shows a shot of the sleeping Anne. ( left TC / right DC ):
The TC is longer.
Close-up of Anne and Bob in the DC, just one shot in the TC. The DC is slightly longer.
In the DC Bob peeks through the neighbors' window and sees a half-naked woman and a man who lightens her crack pipe.
Distinct shot of the man with the white suit how he gets killed in the DC. The TC shows the thoughtful-loking Anne and the man getting killed at the same time, but his death is shown hazily. ( links KF / rechts DC ):
Different angle of the last shot which shows the two killer before the cat jumps out of Anne's arms.
The scene, which shows the killer coming closer to the bed after they shot in this direction, begins earlier in the TC. Furthermore Bob's body can be marvelled in the TC, in the DC he only lifts the blanket. ( left TC / right DC ):
The TC is longer here.
Different footage in both versions when the killers recognize that the police is arriving. The main difference is a further shot of the half-naked woman, the neighbor, in the DC (she's the reason why the police has arrived).
The DC is slightly longer here.
In the DC Pinella & his partners run past the police men, who have just arrested four Spanish-looking men from the house next door, and make fun of the arrested men ("Crime doesn't pay, he?").
Change of scenary: earlier shot of Anne at the police station while Pauling is talking to her. In the TC the beginning of this dialog was audible in the scene before so that nothing gets lost.
Milo & the police are following Anne:
In the DC Anne passes her studio with the bus and she looks at it wistfully.
Earlier shot of Milo in the DC, he looks at several LED banner. Furthermore the TC contains alternate footage in the scene where Margaret appears (begins earlier in the DC as well). Milo looks at another banner which is red.
The DC is much longer here.
Extended scene of Avoca's conversation with Milo in the DC. He says the thing with Carelli was annoying and they had to be more careful in the future.
Here the TC is quite longer: extended shot of Anne after she rang off. Then a conversation between Milo & Avoca's men but the content of it is trivial.
Further shot of the driving dpmt. manager in the DC.
Additional shot of Carelli in the DC. The beginning of the dialog was combined with the scene before in the TC.
In the DC one of Avoca's men kicks one of the plastic bags and makes a foolish comment.
Extended shot of Milo climbing on the roof in the TC.
Extended shot of Milo sneaking around in Anne's apartment in the DC.
Missing scene in the TC: Anne organizes the dead woman's birth certificate from the authorities, she got the name from the tomb on the cemetary. This scene appears, in opposite to the DC where it follows just after the mentionend cemetary scene, later in the TC.
Now it becomes complicated: in the TC Milo receives a call from Luponi who reminds him that his client was getting nervous. This scene also appears in the DC but from time to time with alternate footage. But in the DC Milo also received a call from Luponi in the scene before where the killer was told they hadn't found any relatives of Anne Benton who hadn't been dead. Furthermore they found out Anne and Milo might have sth. in common which makes him thoughtful. Another aspect is that the scene, where Milo is informed about his client's jumpiness, is extended in the DC: Milo goes to the computers, picks up the phone (she doesn't want to be disturbed) and stands in front of the banner designed by Anne without having a clue what they're really about.
The DC is much longer.
After the scene with Anne and the authorities appeared here in the TC, both versions continue with the sequence with Milo who plays saxophone for the first time in his life. In the DC he watches at the LED banner on the computer before he pulls the plug. The saxophone scene is also extended in the DC. For some reason he plays very well in the TC but in the DC he plays just dreadful.
The DC is quite longer here.
Extended shot of Anne in the DC. She sits on the bed and looks absent. The DC also contains some alternate angles. Furthermore the DC contains additional footage. Anne looks out of the door, then she locks the door and goes to the elevators. She seems to be unconfident all the time. Last but not least the meeting begins earlier, too. Now her boss' sentence which is audible later in the TC.
Extended shot of Milo in the DC after he noticed Anne's slogan in a magazin. The following scene (Anne leaves a message for Margaret) is also extended in the DC and some different angles are used. Here she also explains her new life wasn't what she had been used to, but then again it's not that bad. She adds she just had to get used to it.
Now she also runs away in the DC which is longer because she doesn't want to get caught by the police, escpecially not by Pauling.
The DC is longer here.
Short additional scene in the TC. Anne looks at Pauling after he called for her for the first time.
Longer chase of Anne by the police in the TC (different angles) plus one more shot of Anne. In the DC instead a huge ad is shown which doesn't appear in the TC.
Shot of Milo, who plays with his ball, in the DC. Then he walks in Anne's direction slowly.
Further shot of the searching police men in the TC. The DC contains a longer shot of Anne at her hiding spot.
The DC is slightly shorter.
In the TC Pauling sends his remaining men in another direction to search. Then a shot of Milo & Anne in between, followed by another scene which shows Pauling looking for Anne. The DC continues with Anne's attack of Milo. That's why the TC is longer here.
In the TC Milo stands around crookedly before Anne kicks his nuts with her knee. That really slows the pace down which is probably the reason why it's not in the DC.
Further shot of Milo, whose body's still crooked due to the pain, after Anne left in the DC.
Extended shot of Milo looking at the door in the TC before he shuts it.
The TC shows Pauling who is angry about his men because they are supposed to be the best, but they can't find the woman anyway. In the DC we see Milo in the mini church instead, Pauling's noisy dialog is also audible (even though it's less noisy in the DC).
The DC is longer.
Anne runs away again / Relocation:
In the TC Milo sits thoughtfully around, then he looks at Anne's pictures once again. In the DC he looks at the pictures first, then an alternate shot where a flight attendant offers him a drink, but he rejects it.
Extension in the DC: Milo calms down after his flash of anger, grabs a chair and takes a seat to think.
Earlier (and as a result of that a longer) appearence of the train driving by.
Shot of Anne in front of her new home in the TC. She gets out of a car and closes the door. There's also a voice-over by Anne, she seems to be leaving another message for Margaret. She says she had had to move very fast and she couldn't let her know where she is at that moment.
Longer shot of the art teacher in the TC when she's leaving. The scene which shows Anne closing the door is different in both versions: in the TC it's a close-up, in the DC a shot from the distance which is also shorter. ( left TC / right DC):
Then some extensions in the DC: Anne listens to the messages she recorded while she's wearing her nightdress. In the TC these messages were audible in the scene where she arrives at the station. There are also some shots of her new home where she seems to be pretty busy with her work as an artist. After that Anne goes into a church (presumably to get some inspiration for work). She looks around and in a small room in a dugout she finds a striped clay fragment which will appear later again (at least in the DC).
Now the scene which shows Milo visiting Anne's collegue in the TC. After that he meets Pinella in front of his place of work, then the scene which shows Anne leaving a further message while she's watching one of the paintings from the scene before. In the DC it's the other way around.
Extended shot of the trucker running to the mailbox in the TC.
In the TC Milo compares the postmark of Anne's letter with his zip code book, then he puts his case for his glasses away.
Extended shot of Milo while he's listening to Anne's messages for Margaret in the TC. The voice-over is also different in the DC and contains more unconfidence on the one hand and more determination to face the situation on the other.
Furthermore in the DC some abstract paintings are shown from time to time which are actually on the wall in Milo's house. The TC only shows Milo listening to the messages.
Alternate footage: In the TC Goon looks approvingly, in the DC thoughtfully. The TC is slightly longer. ( left TC / right DC):
Milo takes Anne hostage:
The TC shows a further shot of Anne on a platform and further shots of dancing Indians.
Alternate footage: The TC shows the room with Milo & Pinella immediately, the DC shows the door getting shut and then Milo & Pinella.
Extended dialog of Milo & Pinella in the TC (nothing importtant is missing, that might be the reason why it's shortened in the DC).
A shot of Pinella getting killed in the DC which is completely missing in the TC. That's why he just seems to be vanished. Milo says he wanted to show him his "Lucky Gun". He and Pinella go away from the window, then he shoots her neck and then her chest. Pinella slides down the wall and leaves a blood trail on it. This scene is interrupted by some dancing Indians.
Change of scenary: Anne takes a seat in front of her opened suitcase, drinks some tea and grabs her dictaphone, but she doesn't say anything. In the meanwhile Milo passes the flames and the dancing people on the way to his car. A very religious man talks to him from time to time while he's going to his car, but Milo ignores him. Finally the mytserious man makes some notes.
Milo is at his car, opens the trunk and puts out his jacket + scenes of dancing people.
Earlier beginning of the scene which shows Anne walking up the stairs in the TC. She finds the stash; some planks are loose. This scene appears later in the DC.
Now an alternate sequence in the TC. Milo comes out of the building and passes the flames; in opposite to the DC the scene is much shorter and less spectacular in the TC. Then Anne takes a shower which doesn't appear in the DC as well. Finally another short alternate scene of the dancing people in front of the fireworks before the TC continues with Milo at his car (he's already put his jacket off here).
The sequence that shows Milo, who puts on his black clothes, while the others are watching the "carton monster" burning down, is different in both versions. It's much longer in the DC.
In the DC Anne is taking a shower and the shots are more erotical than they are in the TC. Milo watches her.
Two short alternate shots of the burning "carton monster" in the TC (already shown in the DC). In the DC Anne comes out of the bathroom with a towel wrapped around her body and goes to the bedroom. She dries herself off (which means more nudity).
The DC is longer.
Longer shot of Anne making her bed before she goes to sleep in the TC. Milo's at the doorframe and in the DC the focus lies more on him. First he appears at the doorframe, then he walks in and watches Anne through the window. In the meantime Anne hangs up some clothes, watches through the window and goes back to the bed.
The DC is longer.
Short sequence in the TC: Pauling & a police man find Pinella's corpse. The police man says there hadn't been a murder for a long time. Pauling explains there was another victim if they didn't handle fast and shows him a picture of Anne. Then the scene where Milo sneaks upstairs to Anne's bedroom which begins earlier in the TC. The two shots of the sleeping Anne are missing in the DC.
Small extensions in the DC: Milo, who is still a bit scared, turns around to Anne and the police man watches carefully around the corner of the doorframe.
Coming closer / Spending a night together at the hotel:
Earlier and different shot of Milo & Anne in the car in the DC. Instead the following scene begins 0.5 sec earlier in the TC.
Extended distance shot of them in the TC when they're driving closer to the bridge. In the DC they already are on it, that's why the DC is shorter.
Different shots of Milo and Anne in both versions. Furthermore Milo pauses from time to time in the DC. The waitress serves the food in some different angles as well, but nothing relevant. After that Milo tells Anne to drink her tea in the DC, but she doesn't react to that comment. Both are silent.
The DC is longer.
The TC shows a shot of Milo's jeep on the highway which is missing in the DC. The beginning of the following conversation is combined with this scene. The DC shows the car earlier instead.
Earlier beginning of the shot with Milo & Anne at the hotel in the DC. First awkward silence; Milo tries to start a conversation. He also attempts to make her sit close to him on the bed. But Anne ignores him deliberately.
Different angles in both versions when Milo packs out his suitcase: a distance shot in the TC, a close-up of Anne's face in the DC.
Extended scene in the DC when Milo offers Anne some sexy underwear. She is furious, rejects the underwear and walks in the bathroom. First Anne doesn't react here which confuses and ashames Milo. He starts stuttering that he was going to catch a diet coke from the automat and that they could drink it together. Now Anne grabs the clothes and goes in the bathroom, different angles are used in the DC. Moreover the scene continues: Anne shakes out the clothes angrily (this scene is also in the TC but later and as short cutscene). The following shot of Milo on the bed, right before he gets up, is also different in both versions.
The DC is longer, despite the bath scene with Anne.
Now the scene with the furious Anne in the bath room appears in the TC.
In the DC Milo stands next to the door of the bath room and he's absolutley clueless. Anne looks around (she seems to look for a way to escape).
Short cutscene of Anne in the bathroom in the TC, she doesn't know what to do. The DC doesn't contain this scene, instead we see the following: Milo grabs the jacket on the bed and puts it down on the table. He takes the perfume, smells it and tosses it in the garbage can. Then he sits down on a wooden bank with a package of big matches on it. Milo recognizes the matches and walks to the fireplace, interrupted by scenes in the bath room, where Anne is and she doesn't want to put on the sexy underwear. The TC is in again when when the chimney gets lightened.
Milo seems to be anxious all the time and it also seems as if he doesn't know what he has done. That was apparently the director's/leading actor's intention.
In the DC Anne starts opening her blouse.
In the DC Anne doesn't go in the living room immediately, instead she stands around indecisively or angrily. In the TC the shot from Milo's perspective, when he's standing at the doorframe, is sligthly extended. Anne also passes the threshold earlier. The DC is longer.
In the DC Milo admits to Anne that he loves her plus the angle doesn't change when Milo starts kissing Anne's neck. In the TC the image is zoomed (that happens a moment later in the DC).
When the first shock is gone, Anne gets some "bedroom eyes" and lets Milo do as he likes (2 shots).
Anne & Milo on the run / The second night together:
The TC shows the jeep driving across the road. The DC shows the inside of the car and cuts to Milo & Anne and when they start talking. The DC is minimally longer.
Now it becomes complicated again: Actually the conversation is the same in both versions. There are some minor differences (Milo denies to be a rapist in the DC etc.), for the rest some elements are in a different order.
But the TC is interrupted by a block of scenes which is completely missing in the DC: Milo becomes angry while he's speaking (Anne lived in a dream world, she was far from reality etc.). Anne mentions gloatingly they were almost out of gas. That's why they're on the way to the next gas station where Anne can escape while he's trying to fill up the gas can. When he recognizes that she's gone, he follows her and checks a container. But she's on the roof and starts tossing some empty barrels on him, but she misses. Milo says it was good for her and she should come down.
This is probably cut in the DC because it could destroy the impression that they like each other.
Then a shot of them in the driving car, followed by the rest of the conversation (Milo admits to her he's not that good in talking about feelings and asks if she could show him how to do that). Due to the scene at the gas station the TC is much longer here.
Missing scene in the TC: Carelli and his men are at Avoca's to inform him about the situation with Milo & Anne. This appears, in opposite to the DC where it's directly after the driving scene, later (and is extended, too). The following scene with Pauling at the police station is placed equally in both versions, just after the audience at Avoca. That's why it also appears later in the TC.
In the DC the sequence in the motel, where they spend their second night together, starts earlier. We see Milo & Anne leading towards the dusk. This scene also appears in the TC, but much later.
In the DC Milo mentions Anne had also woren those clothes for her boyfriend Bob. Anne replies she had loved Bob, Milo "explains" she hadn't because they had only met once or twice a week to get laid and that had nothing to do with love. Anne is annoyed and asks him if he knew what love was.
Slight extension in the DC: Anne also says "So like last night, he? Right on top of me and came in two minutes? That was quite imaginative Milo." Milo looks embarrassed.
Finally this scene is also longer in the DC: Milo goes to Anne and starts kissing her legs and her chest. Anne explains he wanted to take it slower; both have to laugh and have fun.
Assault on Anne & Milo:
Now the scene with Carelli, Luponi & Co. at Avoca. As already mentioned before this scene is quite short (Carelli explains he had left the family and became partner with the girl). But in the DC, where this scene apppeared earlier btw, Avoca is allowed to speak as well. He talks about his frustration about the lousy work of his men so far and the unnecessary loss of time. In the DC Avoca also fires his men and the bodyguards accompany them outside.
Then the scene with Pauling at the police station in the TC which has already been shown in the DC. In total the DC is much longer here.
Different angles in both versions from time to time plus the DC is longer (extended scene of Milo who changes his clothes; Anne makes fun of him after she hit his arm; Milo smiles while he's leaving the room).
External shot in the TC: the jeep's on a road. The DC cuts to the inside of the car: Anne paints her toenails. There's also an extended shot of Anne asking Milo (with more pauses) what being a killer is like in the DC. As a result of that the DC is longer.
Earlier beginnning of that scene in the TC (before Anne starts smiling).
Slight extension of the shootout at the parking area of the restaurant.
In the DC Anne doesn't come around the corner. Instead a shot of the lonesome road and the resigned-looking Milo.
The "hiding spot" in the mountains:
A scene of the jeep driving away in the DC, the scenes at dusk (also shown in the DC) in the TC. The TC is a bit longer.
In the DC Anne finds a clay fragment at the cliff which is not only similar to the one she found in the church, it also fits perfectly to the first one. Then another shot of Milo, he looks around. In the meantime Anne can hear the sheep from the distance and goes in that direction.
In the TC Milo shows Anne the spot and explains which town's in which direction. In the DC the scene continues after the sheeps were saved. Extended scene of Milo who climbs out of the crevice, Anne is very glad about the fact that the animal could be saved.
Earlier shot of Anne & Milo in the DC. They're in bed together and Milo asks if she was awake. He also says it was her turn (to tell a secret).
Extended shot of Anne & Milo in the bed after the conversation in the DC. Then a scene which shows Milo driving in town.
In the TC Anne wakes up and finds the "snowballs" Milo bought on the bed. In the DC Milo starts the car in front of the shop, then he drives back. (links KF / rechts DC):
The DC is longer.
Earlier beginning in the DC: Anne explains to Milo how the "snowballs" shpuld be eaten. The following shot of Milo also begins earlier. The dialog has been shortened a bit to make it suitable for the TC.
In the DC Anne explains to Milo the outback story was romantic but temporally restricted because they needed a place to survive.
Earlier and closer shot of the mafia members on the way to the cabin in the DC. This scene is also in the TC, but later.
Now the scene (from the DC) in the TC. But only in the DC the camera turns around to the cabin to make the upcoming danger visible. The DC is longer.
Earlier beginning of Milo playing saxophone in the DC (and again the different playing skills in both versions, as mentionend earlier). Anne is in a hurry to drive back (<--appears a moment later in the TC).
Now the shot of Anne, who drives back, in the TC. The DC contains a shot of Milo who's playing the saxophone instead. (left TC / right DC):
In the DC Anne tries to stop Milo earlier, but he just says "I don't feel like talking to you right now!".
In the DC Anne asks Milo more often to stop.
Earlier shot of the van (at which was shot several times) making leeway in the DC.
In the DC the van gets perforated by bullets, then a distance shot of the mafia convoy.
Longer shot of the men realizing that they were tricked by Milo in the DC.
The scene which shows how they notice the other chopper is missing in the TC. It appears later after the second chopper followed them in the canyon. The shot of the chopper itself is different in both versions. (left TC / right DC):
In the DC Milo also says "Oh shit, I can't do it!".
Missing scene in the DC: the rock comes closer pretty fast.
The chopper sequence contains alternate footage in the DC to make it faster and more senseful (in the TC the chopper seems to fly very relaxant to the rock where it finally gets destroyed).
The scene is longer in the TC.
Extended scene in the DC: Avoca receives a call. He's being informed that the chopper crashed, eight family members died and that Milo & Anne could escape. Then he "grieves" for a moment and starts eating his breakfast like nothing happened.
Showdown in Avoca's refinery:
Alternate, slightly extended scene in the DC when Carelli's phone call is over (nothing relevant). One shot of the smiling Carelli is completely new in the DC.
Earlier beginning of the shot which shows the surroundings of the refineries in the DC. Avoca's people are everyhere.
Extension in the DC: a lot of police men arrive, Pauling & the dpmt. manager are still hiding. Then an earlier shot of Carelli's car.
Different footage in both versions when the silos are being passed by. E.g. the DC shows Luponi in the car next to Carelli while he's explaining not to sweat too much because a short curcuit at the bug might be caused. The TC instead shows Avoca and some of his men. This scene appears in the DC when Luponi gives the order to Carelli.
In the DC Carelli, Luponi & Greek start following much earlier while Avoca and his men are waiting excitedly.
In the DC Avoca's men come out of the storehouse (appears later in the TC) plus an earlier shot of Milo, who wants to know what that had been about.
Shot of Carelli, Milo & Greek in the TC. Same shot in the DC, but here it's interrupted by a shot of Luponi. (links KF / rechts DC):
Now the shot of the two men leaving the storehouse in the TC.
Extension in the DC: Carelli wants wo know what everything was good for. Milo replies they had to take him with.
Extended shot of the explosion in the TC.
Extended shot of the police men in the TC before we see Anne & Milo, they try to get out of a shaft close to the refinery.
Closer alternate shots in the DC plus an important plot extension: Pauling arrives, gets out of the car and recognizes Avoca's almost starting chopper. He gets back in the car and leaves, the dpmt. manager calls his name and stays in the chaos. Pauling in the car, he grabs the radio equipment and starts talking: "Mr. Avoca, this is Pauling and this is a close channel. They're all dead. We're closing the case." That means: only in the DC is Pauling corrupt and works for Avoca; but not in the TC!
Then Pauling drives around a corner which is exactly the spot where Anne & Milo climbed out of a shaft. From now on both versions are equal again.
The DC is much longer here.
Different credits in both versions. In the TC the credits start while Anne & Milo are pulling off their fireproof coats, the scene is longer than it is in the DC. In opposite to that the DC contains more shots of Anne & Milo on the boat.
Longer credits in the DC.