The Socorro scene from GBU


(Stanton) #1

I don’t know if it was posted already somewhere in the forum, but here is a reconstruction of the missing Socorro scene:


(Andy) #2

I’ve seen this before. I wonder what people would have thought if the studio was able to find the complete scene and restore it.


(ENNIOO) #3

Would have been nice to see. The scene in a Leone western I would have liked to have seen was the torture scene in Duck You Sucker.


(Stanton) #4

Me too.
The Giu la testa torture scene is one the film needs imo, even if maybe only shortly shown as flashback.


(John Welles) #5

I agree - the Duck You Sucker torture scene really needs to be restored to the film.


(Stanton) #6

To restore it is probably the wrong term as it was never part of any released version.

The added flashback was only added in the mid 90s after Leone’s death.


(Andy) #7

Sorry.


(Stanton) #8

Thanks to Clinton from the SLWB the Socorro scene in detail:

Socorro town square. We observe a large post, reminiscent of gallows, being erected on a podium. Now, the flag of the Confederates comes into the frame. The camera travels backwards, widening the angle of view, and we see the town square of Socorro. Workers are securing the structure, which initially resembled gallows, and is decorated with Confederate flags. Surrounding the square are low level adobe houses, typical for New Mexico. More and more inhabitants are converging on the scene. Suddenly, a group of gentry emerge, including a Confederate army officer and a pompous 50 year old citizen with a top hat and bow tie. The small group climb onto the podium, and the pompous nobleman begins a patriotic speech aimed at inspiring the young men who are present. The speaker cries out, “Fellow citizens. Friends! . . . I bring you news from the invincible General Sibley, who at this time is based in Albuquerque. Sibley, the man who with less than 3,500 men and in less than three months has raised the Confederate flag in the states Arizona, New Mexico and Texas, has brought me some sad, but not alarming, news.” The camera pans over the crowd as the speaker continues . . . “It is true that the counter-offensive of Colonel Canby is particularly heavy at this point. It is also true that the Union army has much more resources that our’s. Unfortunately, it is also true that Colonel Canby has recaptured Santa Fé, (he raises his voice) but it is absolutely nonsense what some claim, that General Sibley’s troops have been wiped out . . .” Murmurs are heard from the crowd as the speaker continues, “. . . Our soldiers, our brothers, are not fleeing, despite deficient arms and equipment . . . but, instead, they are gradually withdrawing and holding a brave fight, like no others.” Someone in the crowd applauds, as the speaker continues, “We in distant Carolina or distant Virginia are pressing our overbearing and well-planned strategies against the North.” The crowd claps their hands, and the speaker adds, “Our bodies versus their cannons . . .” Further applause. The crowds emotions are intensified: “Citizens . . .” Change of scene.
Saloon and bedroom in Socorro. Blondie is lying stretched out on a bed and tries to allure a tanned and sumptuous woman, as the speaker’s voice intrudes, “. . . General Sibley is calling for men, the commander of the Confederates needs men, and that’s why I am here. I hope that your hearts won’t shun this appeal. Enlist now!” Blondie looks in the direction of the window and says (to the woman), “And I want you here . . .” He indicates to the woman that she should close the window. She gets out of the iron bed, and as she is in the process of closing the window, we hear the last words of the speaker: “ . . . To oppose those who are invading our land and trying to change our way of life, enlist now!” After the window has been closed, there is less light in the room and it is quiet. The young woman returns to Blondie, and opens the last buttons of her corset.

Socorro town square. A few young as well as older men emerge from the crowd and gather around the podium, where an officer organizes them into a queue. The speaker’s voice continues to rise, “. . . And the hope of victory will transform to certainty. Your fallen comrades summon you! Those with unshaken hearts and with strength in their arms shall not cower from today’s setback if they want to stride with their heads high tomorrow.” Applause and cheers. The speaker has finished. All of the men who have been convinced by the patriotic frenzy rejoice and some take the flags from the podium which had been flapping in the afternoon breeze.
Close-up of a knothole in a fence. The knothole fills with a dark, glittering and observing eye . . . Under the command of the Confederate officer leading the column, the newly enlisted volunteers march between two rows of women and children, who are waving and sending out kisses with their hands. With high and elated voices the volunteers sing as they march away, sending a whirl of dust up into the air. Fading singing . . . From behind the fence, Tuco is listening to the singing, and then he slips away.
The dust has settled in the town square, as well as the enthusiasm of the women, elderly, and the children, who one by one head back home. Shortly afterwards, all that remains is a decorated podium. Tuco, chewing and spitting tobacco, lethargically approaches the town square and he is towing his horse by the reins. Standing wide-legged and erect, he takes off his sombrero and places it upside-down on the ground. Next, he begins to shout, “Citizens, those of you who have any sense will do the same as me without any discussion about it!” Close shot: He takes out a half silver dollar and holds it over the hat, as he continues, “. . . Come out and pay your share in this hat!” He lets his coin, as an example, fall, and he demands, “So! And hurry up, I don’t have much patience.” The speaker comes out of a door, and with a sense of self-importance he promptly advances towards Tuco and babbles, “What’s all this about? For whom is the money? For our country?” Tuco replies bluntly, “For me!” The speaker retorts, “Get out of here, you and your filthy hat.” The speaker bends over to pick up the hat, but Tuco pushes him flat onto the ground. Even more quickly, Tuco grabs the speaker by the ankles, raises him upside-down above the hat and shakes him. A few coins fall out of the vest of the speaker, while Tuco comments, “You articulate well, speaker. But to lead a war it takes more . . . get out of here! Vanish before I change my mind.” He releases his grip, and the speaker falls and rolls over on the ground.
Tuco heads towards the saloon. From the perspective of the barman: Tuco is approaching, and in the background the speaker can be seen brushing dust from his clothes, before disappearing into a house. At the same time, several doors open and intimidated locals peep outside. As Tuco pushes the saloon doors open, the barman, who has turned pallid, slips out and immediately shows him a coin, stuttering, “I was just about to . . .” Tuco takes the coin out of his hand and sticks it in his shirt. He pokes a finger on the barman’s chest and says, “Bravo, now give me a drink.” A procession of women and eldery are seen in the square depositing their contribution in the hat. Bedroom in the Socorro Hotel. Blondie (seen from the side) is beside the window. He makes a gesture with his hand, indicating that the woman should go, and he demands, “Get dressed!” The woman opens the door and quietly walks out on tiptoe.

Saloon. With the back of his hand Tuco brushes the glass away which the barman had placed in front of him, and he grabs the bottle by the neck. While he gulps, he closes his eyes blissfully, and the sound of alcohol whirling into his stomach can almost be heard. When he opens his eyes, he begins to assess quickly the situation . . . From Tuco’s perspective: On the other side of the saloon doors a procession of people can be seen putting their contribution into the hat. Tuco is now satisfied and looks at the barman, saying, “Amigo, have you seen a blond son of a bitch around these parts, he’s this tall [this sequence in seen in the French trailer for the film] . . . rides a brown horse, says little, el cavron . . . ?” The barman interjects, “Here, the people don’t speak much. Yeh, I think I can remember a guy like that.” Tuco briskly reaches out, seizes the barman by the chest and almost pulls him over the bar. He demands, “Speak! When did you see him?” The barman, shocked, replies, “A . . . .aah, no, six days ago. He was looking for someone . . .” Tuco snaps back, “Someone with a price on their head?” The barman replies, “Yeh, then . . . then he disappeared. He seems to be a bounty hunter.” Tuco abruptly releases the barman, uttering, “Judas. The pig . . .” and angrily he seizes the bottle and takes another gulp.
The barman sees something that stuns him . . . Out of the perspective of the barman: The camera zooms on to the woman who was above with Blondie, but she is now in the town square and leaning over Tuco’s hat. The barman quickly offers Tuco a bottle and, to catch his attention, adds, “That, señor, is the best bottle of bourbon within 100 miles . . .” Tuco throws his empty bottle away, reaches out for the bottle offered by the barman and sticks it in his shirt. He says, “Bueno!” He turns around and heads towards the door. The barman glances surreptitiously in the direction beyond the saloon doors. From the perspective of the barman: the town square is empty and the woman has vanished. The barman leans against the bar, as if he is on the brink of syncope.
Town square. Close-up of the hat, then [full shot]. Tuco is seen approaching the hat and bending over to inspect the fruits of his collection. Close-up of the hat: inside the hat there is a cigar butt instead of the money. Tuco slowly takes the butt, sticks it in his mouth and puffs until it glows and smoke appears. He sets the sombrero on his head and heads back to the saloon. Saloon interior. The barman goes behind the bar and tries to reach a backdoor but the voice of Tuco catches up with him: “Come out of there!” Full shot: Tuco appears at the swing doors with a revolver in his hand. The barman emerges from behind the bar, as Tuco mournfully says, “Amigo, your still telling tales at your age . . . take off your trousers.” Tuco takes the cigar out of his mouth and moves towards the barman. The camera travels backwards until Tuco and the barman are no longer in the frame but, instead, the saloon doors. A short scratching and then the sound of a stool falling are heard. Tuco exclaims, “I said, down with your trousers!” The barman screams. It is not difficult to imagine what has just happened. Fade out.


(Stanton) #9

Btw the reconstruction in the first post is of course from the MGM DVD. Should have realised immediately that I knew the reconstruction from somewhere.


(JonathanCorbett) #10

The long flashback was part of the original cut, the director decided to remove it because of the negative reaction of a spectator during a preview screening.


(Stanton) #11

But it wasn’t in any release version up to the 90s.

Unlike the long version of OUTW and the Grotto scene of GBU I can understand that Leone maybe wanted it back in the film.

But what a negative reaction could that have been that Leone made cut it out?


(JonathanCorbett) #12

This guy stood up and left right at that point.

As regards the other two films, Anica data concerning film length reserve some surprises… :wink:


(Stanton) #13

Ohh, you mean because of one guy leaving the cinema (maybe he had to pee and couldn’t hold it any longer) Leone has cut the scene out?

Oh well, maybe only a legend …


(JonathanCorbett) #14

A well-documented one…

http://archiviostorico.corriere.it/1996/agosto/24/Omaggio_Sergio_Leone_Giu_testa_co_0_9608246640.shtml