Restored effects footage of an erupting volcano causing a palm tree to burst into flames.
we no longer see the Brontosaurus lift the pesky carnivore off its back and drop it to the ground; New insert footage of Austin, Zambo, and
Jocko at the base camp, working on the ladder while fretting over the geologic calamity above; An extension of the shot in which Malone flees
in the right foreground, passing a smoking tree now seen to burst into flames as he passes; New shots of Challenger and Summerlee in
the inferno, and inserts of the bubbling sea of lava, Roxton and Paula in the cave, four more spectacular panoramic tableau shots featuring dinosaurs, three Brontosaurus flee left to right; And Malone climbing an outcrop of boulders as
terrified Brontosaurus and Triceratops flee behind. Chapter 14’s opening image—the panoramic
miniature shot of the post-eruption landscape littered with sur­ viving carnivores scavenging the carcasses of the dead—is slightly extended and shar­ per than ever be­
fore, concluding with the familiar closeup of the quintet of feeding Allosaurs.
The suspenseful concluding cavern se­
quence—as the vengeful Apeman malingers be­ hind the expedition as they make their escape, waiting for the chance to attack—is subtly re- edited. A full body shot of the Apeman after his initial descent to the lower cavern is shortened (the Apeman turns to face the camera in LUMI). Jocko the monkey’s reunion with Paula fea­
tures a completely different take of the scene, taken from the “ international version.” The little primate displays much less affection here than in all prior versions. Ch a p ter 1 5 ’s fo o ta g e— fo llow in g the
group’s recovery at base camp, discovery of the mired Brontosaurus, and meeting with Hibbard’s expedition—is much crisper than all previous versions. Zambo’s dialogue (“Ah certainly hopes dat mud holdsl” ) has again been homogenized. 1 m 30s of new foot­
age of Paula, Malone, and Roxton advances the ongoing love t r i­ angle (“We’re back in the world—and its obli­ gations!” ).
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