Both prints are so fragmentary as to be ruinous. Even combining all the footage from both versions leaves one with an overly abridged film. And key points such as Josette being a prostitute with Gogo as her pimp are completely lost. Without that essential fact, Gogo's attitude towards Howard is completely inexplicable.
The UK version features Welles prominently in the credits. "A Mercury Production by Orson Welles," "Screenplay by Orson Welles and Joseph Cotten" - interesting that his name was removed from and diminished in the US release - Welles distancing himself from the project or RKO banishing the name they had just very publicly tarnished?
The UK version also has a longer first reel (especially in the extended nightclub scene with the magic act) and a different ending (with Mrs. Graham yelling at her stupid husband who is up on a ledge for no reason she can fathom.) It lacks any narration, and I prefer it without.
Except for the inserted and reshot kiss scene when Howard meets up with his wife finally, it appears to me she's quite sick of Howard and is much more receptive to the attentions of Colonel Haki. I wonder how the original Meeting of Howard and Stephanie at the Hotel Room Door played. Coldly, I suspect. Following the inserted reshot, Stephanie doesn't give a damn about leaving Howard to the creepy company of Mueller and Banat and is much more interested in having a drink with Haki. She even refers to herself and Haki as "us." And Howard has shown much more interest in Josette than he did for Stephanie in the film, especially in light of the deleted "Bickersons" scene at the beginning of the film.
Welles tried to throw out this content with last-minute narration both incongruous and contrived, but what the actors tell me with their performances belittles this. Howard and Stephanie hate each other, and who could blame either of them?
Unless Roger chimes in with words to the contrary, I'm going to move the Mr. Mathews corridor scene to after the meeting with Mueller and immediately before Howard enters his new stateroom. And if that winds up not working, I'll try something else. Unlike Welles, I have more than a single weekend to play with the editing.
I should also use the credits featuring Welles' name, which I didn't do before.
Films truly aren't ever finished - only abandoned.