#Joseph is so charismatic in any role he plays

[dramasauce]

Romance on the Farm (2023)

[threadsun]

It totally makes sense! You just keep doing you boo and I’m sure that someday soon those people who belittle the credibility of sex work will see the truth. I’m sure teacher Jack would teach those people a similar lesson about respect, probably not as sexy fun times though lol. Dude, I’m so down to clown that I’m pretty sure any kind of punishment or lesson Jack would deal out wouldn’t work because I’d like it too much 😂 The ONLY one I can think of is based off that breeding kink you posted about before where he threatens not to finish inside, but that’s literally it. She’s a freaky gal! Exactly with Joesph! It’s like almost an inner war with himself where he loves the more positive attention he’s receiving for playing the role of Sunny Day Jack, but he doesn’t want to get noticed too much since he’s so afraid of getting kicked off the show. The kind of guy who tries to play it cool on the outside, but is actually an extremely emotional person who wear his heart on his sleeve (in a literal sense too with the flaming heart tattoo on his arm) and has trouble hiding the emotions on his face. It helps a lot with his acting, but it makes him more vulnerable to those who might use him for less savory means. I see him as a very charming and charismatic person so he naturally eludes a cool guy persona, but his insecurities really might make him feel like he’s not really this great guy. It’s a really weird mix where if you didn’t know him as well, he’d seem like the popular tough guy with a heart of gold, but getting close enough, you’d see just how torn up and insecure he feels inside. I was thinking about how nice it would be for his next life if he was given a better life to make up for his last, but then I realized he probably already feels that way with his sunshine. If only he felt like Joesph was worthy of experiencing such love and happiness. OOOOO! I’d FREEZE if he used his teacher voice on me. I could imagine the smirk he’s holding back on his face too. Jack seeing how much power he has over his sunshine that just his voice could be enough to stop them from continuing whatever bratty behavior they’re trying to do. It probably feels good too, no longer being the one ordered to do this and do that to gain favor from others or earn an extra tip. This is fun! I forgot how much I love writing random scenarios lol. I usually get so lost in making sure everything is smooth and grammatically correct that I don’t enjoy just placing everything down like I’m doing here and just sending it off! I’m sure if I did, all these little headcanons would probably sound a lot more cohesive, but I’ve just been enjoying bouncing off ideas with you that I haven’t focused on if things sound alright grammatically lol.

-🎃

Thanks!! 🥰 thankfully, most of my clients have been super sweet and chill, it's just the handful who aren't that ruin it for everyone.

Oh yes, Jack's #1 threat is absolutely pulling out instead of breeding you~ it simply makes his Sunshine so needy and willing to be good for him!! After all, only good subs get bred~

Yes!!!! Exactly!!!! When I finally get around to writing that fic about Joseph and Jean being trapped in the tape together and how they become Jack and Rory I'll be exploring this sort of thing a lot more. But like, idk the fact that Joseph felt the need to become Jack, and considers Jack a better person than he was... like, it just doesn't track with the idea of him being selfish and cocky and having high confidence and self-esteem? It's the actions of a man who sees himself as a no-good fuckup and wants to change. The actions of a man who wants desperately to be good, but doesn't think he can. Doesn't think he knows how. And someone who feels that way about themself usually isn't actually an asshole or a bad person, they're just a person with self-esteem issues who tries to be a good person and just holds themself to too high of a standard. And based on how he seems to have been treated his whole life (like we see in that detention slip), it makes sense he'd have that view of himself! Idk I just think he's a sweet, soft, goofy guy who is constantly judged for how he looks and tries to be better than what is expected of him. And who has serious self-esteem issues and anxiety about losing the few good things in his life, like his role as Jack.

Yes, exactly!! I feel like that's probably why Jack is so heavily a dom, he's used to submitting to other people as Joseph (and I still headcanon Joseph as being more sub-leaning). So being dominant puts even more distance between who he is now and who he used to be, and also lets him take control in a way he didn't used to be able to! And also because he loves seeing how desperate his Sunshine is for him. Making them be the needy, begging one giving up power for once!

I'm glad you're having fun too!!! I love bouncing ideas around with people tbh, I find that when I actually get around to sitting down and writing things out, it makes the polished stuff better!!

[fitzrove]

Finnish Elisabeth Dreamcast

Because I have Thought About This. Jos joku teatteri lukee tätä, saa käyttää 😎 manifesting

Elisabeth: Anna-Sofia Tuominen

Elisabeth is always a challenge to cast... I know some people really prefer older actresses for this role, but I was really impressed by Anna-Sofia's emotional range as an actress and her almost haunting vocals when I saw her live in a musical some time back, and just now I looked up her resume to check her vocal range and apparently she has gymnastics experience - maybe she could do something with that in the pre-Maladie scene. I think she could really pull off both the tragic quality of the character and her fiery spirit!!

Lucheni: Marko Maunuksela

I liked him as Che lol also those high notes were crazy

Franz Joseph: Joel Mäkinen

Obsessed with his Gleb... he's also among the best Finnish musical singers I've ever beheld. People often give FJ grief for being a boring character, but he doesn't have to be... if an actor is really willing to work with the material and get to what makes their role "tick", even mediocre material can be the foundation for a standout performance. And the material in Elisabeth isn't even bad!!! By making Gleb make sense, Joel has made me believe he could do that to any character xD

Tod: Miiko Toiviainen

he,,,,,,,,,,,, I promise this is not just because he's blond lol. He's soooo charismatic and I would trust him to make the role so interesting. Barring heterosexual meddling restrictions from the creative team, I think he could really tap into Tod's ambiguities - he's played queer characters and done genderblind cast Shakespeare before >:] Plus he's a tenor who I trust not to wreck his voice unlike an unnamed different favourite actor of mine. I also think it'd make him the first actor who was both Tod and Alfred and that would be iconic (there's so many who were both Tod and Rudolf, but for some reason the Tod-Alfred boundary is rarer to cross lmao. But Miiko has already done a common Tod performer role - the Emcee in Cabaret - so I think he'd be awesome).

Rudolf: Arttu Soilumo

My criteria for this was "up-and-coming young musical actor who can pull it off vocally and actingwise - not just sad and pathetic all the time but with the capability to show some fire and even wary optimism" and I think I found one >:) Also giving preferential treatment because he's written original theatre stuff about queerness and like I'm sorry but this just is Rudolf criteria to me now, you get bonus points for being lgbtq, I decided it with Andy Bieber (ahfhghj I didn't actually ask Andy Bieber but I assume he'd support me in this)

Sophie: Sinikka Sokka

As the Dowager Empress in Anastasia, she looked SO much like Else Ludwig's (2005 proshot) Sophie. And I liked her performance a lot!!!

[privmu]

JESSE JOSEPH ST. JAMES

AGE: 31

BIRTHDAY: 12th November 1993

RELATION: Full

TYPE: solo

GENDER: Male

PRONOUNS: He/him

ORIENTATION(S): Believes he’s heterosexual (But actually gay)

FACE CLAIM: Ben Platt

JOB/SCHOOL

JOB: Realtor; cast member on Selling LA

ALUMNI?: Alumni

ABOUT

Jesse has always been the perfect first born Mormon son. The golden boy of his perfect mormon family. Charismatic, dedicated and totally devoted to his mormon faith. To everyone around him, he’s living the ideal mormon life: successful, deeply involved at church and community and seemingly on the path to finding her perfect mormon wife. But beneath the surface Jesse is torn between two worlds. His desire to lead his family by example and be the perfect priesthood holder and his deep desire to become a broadway star. Even more troubling is Jesse’s biggest secret or denial about himself: That he’s gay. One secret his is not willing to confront.

From on early age he was always used to being the centre of attention. Eyes were always on his family, whether they were holding high church callings and the children were expected to live up to that example or when they signed on to the TV show and then they whole lives were to be that example. As the oldest boy and the one with the priesthood it was expected that Jesse be the next in line to preside over the family and his father groomed him to be such. Often making him quite the bossy older brother to his siblings. Always keeping them in check. As with any mormon family music played a big role at home and in church and Jesse loved it. He learnt to play the piano from an early age and began staring in ward roadshows, plays and pageants. He loved the buzz and adrenaline that he got form being on that stage and the ability to involve music that brought emotion, and found he had a natural talent for it and a beautiful voice. As his love of music continued he learnt to conduct at church and was often called upon to play the piano or conduct on Sundays. He later went on to be the stake choir director an assignment he absolutely loved.  When Jesse turned 18 as all Mormon boys did he went on a mission for the church to Malaysia where he spent 2 years teaching and serving the people there. Being so devoted and engrossed in the religion Jesse built up his strong faith and devotion to God. With eyes on him as well due to his families connections he grew through the ranks of the mission and of course eventually became one of the highest missionary calling as an assistant to the president. He loved his time abroad and learnt to speak mandarin as part of his calling and he loved using his musical gifts out there to serve the people. Upon his return home Jesse was left with a decision to make. Follow his love of music and pursue his dream of becoming a Broadway star or do the sensible expected thing of finding a good conservative career, marrying a good mormon woman and building a family as well as raising through the church. As per his fathers advice that the arts were fun but not a viable career option Jesse chose to study business at PSU. A shocking plot twist in the family tv show move away from the norm as most mormons chose BYU but Jesse wanted to be close to his family and he could still get involved in the arts. Out of PSU Jesse went on to become a successful realtor and now sells million dollar homes to the rich and famous. He has become a series regular on the Netflix series selling LA about the cut throat lives of the LA realtor scene. He sees this as an opportunity to perform to the camera and his connections from his parents show definitely helped give him an edge on set. His charming and clean cut demeanour and his families reputation winning him over clients. While his nice guy Mormon image helps him be underestimated by his show rivals. He will tare his competitors down and do it all with a perfect while teeth smile on his face. Outside of work Jesse is still wanting to have his perfect mormon family. He has, as they say in the church, “struggled with same sex attraction” his whole life. However he believes that if he remains faithful and marries a good mormon girl God will take those feelings away. He has kept this secret from his family and close friends and remains devoted to his faith in an effort to rid himself of these feelings.  While he loves his job and life Jesse harbours a lot of desires for another life outside of his own. One where he could freely be himself. Free to express his artistic desires and free to feel love completely. Yet he suppresses this all down for he sake of his faith and the lifestyle he is told to have.

[privilege-rpg]

JESSE ST. JAMES

☆ FULL NAME: Jesse Joseph St. James ☆ GENDER: Cisman ☆ PRONOUNS: He/Him ☆ AGE: 31 (November 12th, 1993) ☆ TYPE: Full sibling; solo ☆ HOMETOWN: Salt Lake City, Utah ☆ JOB: Realtor; cast member on Selling LA ☆ SCHOOL: PSU Alumni ☆ SEXUALITY: Closeted Homosexual ☆ FACECLAIM: Ben Platt

ABOUT JESSE

Jesse has always been the perfect first born Mormon son. The golden boy of his perfect mormon family. Charismatic, dedicated and totally devoted to his mormon faith. To everyone around him, he’s living the ideal mormon life: successful, deeply involved at church and community and seemingly on the path to finding her perfect mormon wife. But beneath the surface Jesse is torn between two worlds. His desire to lead his family by example and be the perfect priesthood holder and his deep desire to become a broadway star. Even more troubling is Jesse’s biggest secret or denial about himself: That he’s gay. One secret his is not willing to confront.

From on early age he was always used to being the centre of attention. Eyes were always on his family, whether they were holding high church callings and the children were expected to live up to that example or when they signed on to the TV show and then they whole lives were to be that example. As the oldest boy and the one with the priesthood it was expected that Jesse be the next in line to preside over the family and his father groomed him to be such. Often making him quite the bossy older brother to his siblings. Always keeping them in check.

As with any mormon family music played a big role at home and in church and Jesse loved it. He learnt to play the piano from an early age and began staring in ward roadshows, plays and pageants. He loved the buzz and adrenaline that he got form being on that stage and the ability to involve music that brought emotion, and found he had a natural talent for it and a beautiful voice. As his love of music continued he learnt to conduct at church and was often called upon to play the piano or conduct on Sundays. He later went on to be the stake choir director an assignment he absolutely loved.

When Jesse turned 18 as all Mormon boys did he went on a mission for the church to Malaysia where he spent 2 years teaching and serving the people there. Being so devoted and engrossed in the religion Jesse built up his strong faith and devotion to God. With eyes on him as well due to his families connections he grew through the ranks of the mission and of course eventually became one of the highest missionary calling as an assistant to the president. He loved his time abroad and learnt to speak mandarin as part of his calling and he loved using his musical gifts out there to serve the people.

Upon his return home Jesse was left with a decision to make. Follow his love of music and pursue his dream of becoming a Broadway star or do the sensible expected thing of finding a good conservative career, marrying a good mormon woman and building a family as well as raising through the church. As per his fathers advice that the arts were fun but not a viable career option Jesse chose to study business at PSU. A shocking plot twist in the family tv show move away from the norm as most mormons chose BYU but Jesse wanted to be close to his family and he could still get involved in the arts. Out of PSU Jesse went on to become a successful realtor and now sells million dollar homes to the rich and famous. He has become a series regular on the Netflix series selling LA about the cut throat lives of the LA realtor scene. He sees this as an opportunity to perform to the camera and his connections from his parents show definitely helped give him an edge on set. His charming and clean cut demeanour and his families reputation winning him over clients. While his nice guy Mormon image helps him be underestimated by his show rivals. He will tare his competitors down and do it all with a perfect while teeth smile on his face.

Outside of work Jesse is still wanting to have his perfect mormon family. He has, as they say in the church, “struggled with same sex attraction” his whole life. However he believes that if he remains faithful and marries a good mormon girl God will take those feelings away. He has kept this secret from his family and close friends and remains devoted to his faith in an effort to rid himself of these feelings. 

While he loves his job and life Jesse harbours a lot of desires for another life outside of his own. One where he could freely be himself. Free to express his artistic desires and free to feel love completely. Yet he suppresses this all down for he sake of his faith and the lifestyle he is told to have.

FAMILY BACKGROUND

religion cw

The St. James family, consisting of Prophet Seer and Revelator Joseph St. James, his eldest son, Apostle Brigham St. James, and his eldest son, a member of the First Quorums, Gideon St. James, are perhaps the most influential LDS family in Salt Lake City, Utah, with the McKay family a close second. Therefore, when Gideon and the McKay’s eldest daughter, Clara, became of age, they were pushed together and encouraged to wed immediately. Luckily, they did hit it off, so while their marriage was not arranged but encouraged, the connection was there, and the two were married within three months of their official first date, their honeymoon baby coming along shortly after—and their family continuing to expand ever since.

Together, Gideon, Clara and their growing brood of children—both biological and adopted—climbed the ranks within the Mormon church, holding a number of leadership callings, including a three-year overseas trip with Gideon as the mission president to London, England, and making a bigger and bigger name for themselves with their business and social status among the LDS community worldwide. Upon their return to the US, the influential family were approached by the same production company responsible for the popular reality show Wilde Faith, and asked to headline their own show, The Secret Lives of Mormon Wives. With prayer and family counsel, they eventually considered this a calling to bring positive exposure to their oftentimes misrepresented religion. They uprooted to LA to begin production soon after.

At first, the show was relatively tame, focusing mainly on the wives thrown together to make up the cast and each of their growing families. Entertainment came in the form of gossip and the lavish, old money lifestyles each family led, and the general public couldn’t get enough. It was renewed for season after season, its scandal picking up with each new addition to the cast—some thrown in purely for the drama. The St. James’ were seen as the main family, the ones in charge, but as time went on and their children grew into adults themselves, production decided it was time for the original cast to take more of a backseat role while new, fresh faces were brought in to lead the newest season.

Unfortunately, their drama far surpassed anything seen on the show before, the addition of the “Momtok” scandal (if you know, you know) making a mockery of the LDS community in the St. James’ eyes. The season aired before they knew anything about it, therefore there was nothing they could do to stop it. With their names attached so heavily to the show, the backlash they have received from within the church has been insane, and the St. James’ are now doing whatever they can to fix their tarnished image. Their daughter, Lilee, has recently started a YouTube channel, Lilee and the Littles, where she does fun, family-friendly games with their younger siblings while showing off how clean and wholesome the family still is—or at least how they want the public to see them, anyway.

[vendettapandav]

John Loves You AU notes

So I'm awake now and I've been seeing this Swap AU concept everywhere, so naturally, I wanted to contribute by bringing my own little interpretation of things to the table ❤️

Big credit to @zzoupz and @salmonandsoup bc they formed the basis for a lot of these ideas and I just wanted to build on some of the concepts bc they are insanely cool and inspiring ✨

John Ward - Charismatic, well-spoken, manipulative, but quite spineless and cowardly otherwise, John is a priest who can’t help but look at the world with scorn. He is of the belief that humanity is irredeemable in its current state. That no amount of prayer and penance can save mankind now. The only way for there to be salvation is for the world to effectively be “reset” by God once more. Much like Noah and his Ark, John feels that it is his mission to gather all those that are still able to be saved and are destined for the new world. Once he has gathered them all in his temple, The Ark, he intends to initiate a ceremony to unleash a “flood of angels” into the world. He believes that God will not be able to ignore such a sign and will “wipe the slate clean,” after which he and his followers will emerge in a new Eden and rebuild the world as God intended. Also, he wields a dagger in the shape of a cross (because that idea is cool as hell and I’m obsessed with it.) His cult features iconography of hoofed animals, especially lambs, goats, and deer.

Lisa Pearson - John’s right-hand woman and chosen “vessel.” If he is Joseph, then she is the Mother Mary of the Cult of the Ark. Having known John since childhood, she had no reason not to trust him when he told her the world would soon end and that he needed her help, especially when he was inaugurated as a priest and claimed: “it was God’s will.” She trusts John wholeheartedly to protect her and save her soul. She is loyal to him and utterly adores him, and she will stubbornly deny that she is with him against her will. She genuinely loves John, and she’s very kind and sweet, and non-hostile, unlike John and the rest of the cult. One should tread lightly though, as she is very perceptive, and she is very much a tattle-tail. Any perceived threat she sees will immediately be reported, and John will respond with full force to defend her. Even if that means having to stab someone himself. She helps John run the abortion clinic and harvest “young, pure souls” to use as messengers to God.

Father Garcia - Garcia is considered the guardian of John’s flock. He’s referred to as the Shepherd by John’s followers, the Angel by John himself, and the Reaper by all outsiders that try to lead his lambs astray. A senior priest, John took advantage of him during the lowest point in his life after the death of his wife. He deceived a grieving Garcia into believing that he could find peace again or perhaps even see her when the world was reborn into a new Eden, and all he had to do was play the role of Shepherd for his flock of chosen ones. Garcia was all too happy to accept in his desperation to find purpose and faith again, gladly taking up arms and fiercely defending John and his cult. He’s a stern, stubborn old man who has bought completely into John’s rhetoric and cannot be swayed, for he has nothing left to lose. He’s former military and he speaks candidly of how he served in Vietnam in particular. He’s also a hunting enthusiast, so he knows his way around traps and guns and will use this knowledge to keep outsiders at bay.

Amy Martin - Displaced just before she turned 18, Amy ended up being taken in by Miriam. Her family and she frequently got into arguments and fights about the fact she worked at an abortion clinic. Her parents threatened to throw her out so Amy went a step ahead and left on her own after they tried placing nonsensical rules and restrictions on her. It turned out to be a blessing in disguise, as Amy’s family became the first victims of John and his cult after they refused to join his cause. He believed they would be easy to indoctrinate on account of their grief over their lost twins but they resisted. As such, he ended up having them killed and used their corpses as part of a summoning ritual for some “angels.” Amy never learned the truth past the fact that her family was murdered. She’s furious and bitter and demands to be included in Gary’s mission to take down the cult.

Michael Davies - Left in the care of Father Garcia by a family who mistook his albinism for demonic possession, when Garcia joined the cult he brought Michael with him. Michael was originally planned to be used as a vessel; “a mouthpiece for God.” (Aka, he was going to be possessed by a demon.) Somehow, he managed to escape and was offered sanctuary by Miriam until Gary could properly exorcise him. Unfortunately, Gary was unable to do so and Michael ended up escaping their care. Now, Gary’s mission is to find him, free his soul, and destroy John’s cult before they find him first and unknowingly complete the ritual that will open the world to a flood of demons.

Tiffany Robinson - Tiffany is Gary's childhood friend. She was often the only one who stood beside him when others picked on him for his status as a bastard child. As they got older, they stayed very close despite their significant differences. While Gary went on to become a preacher, Tiffany leaned more into news reporting and writing in general and adopted an agnostic mindset. They still spend a lot of time together and she volunteers herself up as his assistant who takes notes for him and helps him edit and practice his sermons while joking around with him.

Gary Miller - Gary is a preacher, albeit not an overly religious one. He takes a more loose and accepting interpretation of the Bible, focusing less on God and more on the stories, encouraging community support and acceptance. His heart is in the right place, but he tends to come off as very cynical and critical of the Church as an organization and holds a bitterness towards established religion due to the way it was shoved down his throat as a child. He’s got a small but devoted following, despite his opinions being unpopular with most. When he’s not at an altar, he’s usually volunteering in the local community. He uses a cane (with a sword in it bc like I said before, I’m OBSESSED with the concept) to get around. While he’s mostly healthy, old age has caught up with him a bit and his left knee is in a sore state on account of an incident with some other kids in his youth that left it damaged. He’s kind, charismatic, a bit snarky and sarcastic with his humor, but overall well-mannered and good-natured.

Miriam Bell - Miriam was a devoted nun for decades before she had Gary. He was an unplanned child for obvious reasons and seeing as termination wasn’t an option (and she would have just been further ostracized for it), she was excommunicated from her church as a nun. This didn’t stop her from loving Gary with all her heart, nor did it stop her from attending a different church with her boy despite the constant rumors and nasty comments about her situation. She was the one who taught him to judge less and be more kind and tolerant. Her only regret is not doing more to protect him from the constant badgering from others who knew he was born out of wedlock. She’s a loving, protective figure in her greater general community and is a bit of a mama bear to all the kids. If you walk into her house, you will notice a lot of handmade dolls, a lot of old jewelry, and a lot of swords to go with the homemade cooking. She teaches self-defense classes on the side, and she still spoils her adult son.

Alu, Roger, Jefferey, Malphas - All powerful demons conjured from Hell to usher in chaos and the end of days, John believes them to be nothing more than angels. He’s summoned them under the thought that they will get God’s attention and serve as witnesses and testimonies as to why the earth should be flooded and purged once more. Tricksters that they are, they are more than happy to go along with his delusions and make demands for “evidence” in the form of sacrifices and ceremonies. He doesn’t realize that they’re not angels, and they’re just fine with that fact.

[uomo-accattivante]

I recently came across a bunch of press articles and photos about Oscar Isaac that are so old, they appear to be out-of-print and pre-date social media. Considering they were probably never digitally transcribed for internet access, I’m guessing that the majority of current fans have never seen this stuff.

Even though a lot of these digital scans are challenging to read because they are the original fuzzy news print, I think there some gems worth sharing with you guys. Over the next several weeks, I will transcribe and share those gems on this page. Hope you enjoy them!

Let’s start with this fantastic 2001 profile piece done before Oscar was accepted into Juilliard:

South Florida’s rising star isn’t just acting the part

By Christine Dolen - cdolen@herald.com

February 4, 2001

As fifth-graders at Westminster Christian School in Miami, Oscar Isaac and his classmates were asked to write a story as if they were animals on Noah’s Ark. Oscar turned in a seven-page play – with original music – from the perspective of a platypus. Then he starred in the production his teacher directed.

He hasn’t stopped expressing himself creatively since. Today, Isaac is one of South Florida’s busiest young theater actors, and certainly its hottest. And not just because he’s a slender five-feet nine-inches tall with an expressively handsome face and glistening brown eyes.

Since making his professional debut as a Cuban hustler in Sleepwalkers at Area Stage in July 1999, he has played an explosive Vietnam vet in Private Wars for Horizons Repertory, a pot-smoking slacker in This Is Our Youth at GableStage, another Cuban on the make in Praying With the Enemy at the Coconut Grove Playhouse, the entrancing narrator of Side Man at GableStage, a Havana-based writer in Arrivals and Departures for the new Oye Rep and, most recently, a young Fidel Castro in When It’s Cocktail Time in Cuba at New York’s Cherry Lane Theater.

Beginning Wednesday, he’ll be juggling five roles in City Theatre’s annual Winter Shorts festival, first at the Colony Theatre in Miami Beach, then at the Broward Center for the Performing Arts. But that is not all: During the two weeks he is doing Winter Shorts, he’ll also be playing dates with the punk-ska band The Blinking Underdogs (www.blinkingunderdogs.com), which features him as lead singer, guitarist and songwriter.

Oh, and he just got back from auditioning for New York’s prestigious Juilliard School of Drama.

All this for a guy a month shy of his 22nd birthday.

Sure, you could hate a guy who’s that talented, that charismatic, that transparently ambitious. But the people who have worked with Oscar Isaac don’t. On the contrary, they’re all sure he has it – that magical, can’t-be-taught thing that transforms an actor into a star.

Playwright Eduardo Machado, who put in a good word for Isaac at Juilliard, says “he does have that star quality that makes your eyes go to him. It’s great that someone with that talent still wants to train.”

“He has a star quality that’s rare in a young actor,” adds Joseph Adler, who directed him in Side Man and This Is Our Youth. “Without a doubt I expect to be hearing great things from him.”

‘I JUST LOVE CREATING’

Isaac, who also makes short films, can’t say exactly why he was attracted to acting. He just knows it makes him happier than anything, that it’s what he was meant to do. And he’s been doing it since he was a 4-year-old putting on plays in his family’s backyard with his sister Nicole.

“I just love creating, whether it’s music or films or a character on a stage. I love taking people for a ride,” he says. “In Side Man, every night I would love being that close to the audience. I felt like I was talking to 80 of my closest friends.

“I could feel what the audience was feeling.”

His powerful, mournful-yet-loving monologue near the end of the play, he said, “worked every night. I knew it would get them. I’d hear sniffles.

“But it had less to do with me than with the atmosphere [created by the playwright and director].”

You could understand if Isaac, surrounded as he is by praise and possibility, had an ego as burgeoning as his career. Instead, he channels the positive reinforcement into confidence about his work.

“He has such a charm and an ease onstage, but he’s very modest,” says New York-based actress Judith Delgado, who shared the stage with Isaac in Side Man. “He’s hungry. He’s got moxie. I was blown away by him.

“He saved me a couple of times. I went up [forgot a line] and that baby boy of mine came through. He’s a joy.”

FORGING HIS OWN PATH

The son of a Cuban-American father and a Guatemalan mother, Isaac was never a stellar student. But he found ways of turning routine assignments – like the Noah’s Ark story – into creative challenges.

His science reports were inevitably video documentaries underscored with punk music. He acted through middle and high school, though he had a falling out with his drama teacher at Santaluces Community High in Lantana over his misgivings about a character. When she refused to cast him in anything else, he got his English teacher to let him play the dentist in Little Shop of Horrors his senior year.

His skepticism about authority and love of playing the devil’s advocate have long made him resist doing things the usual way. His post-high school “training” consisted of one semester at Miami-Dade Community College’s South Campus (where he met his girlfriend, Maria Miranda), touring schools playing an abusive character in the Coconut Grove Playhouse’s Breaking the Cycle, and working as a transporter of bodies at Baptist Hospital, where he absorbed the drama of people in emotionally intense situations.

“It was the most magnificent dramatic institute I could’ve attended,” Isaac said. “I was able to observe the entire spectrum of human emotion, people under the most extreme duress. I was mesmerized watching the way people interacted with each other in such heightened situations.

“I learned everything about the human condition, and it was real and harsh and brutally honest.”

Yet even given his propensity for forging his own path, something nudged him another direction while he was in New York making his Off-Broadway debut in December. Walking by Juilliard one day, he impulsively went in to ask for an application. Though the application deadline had passed, Isaac persuaded Juilliard to accept his, noting in his application essay that most of the exceptional actors he admires had acquired “a brutally efficient technique” to enhance their talent by studying at places like Juilliard.

Though he won’t know whether he has been accepted until the end of this month, his audition last weekend went well, he says. He did monologues from Henry IV, Part I and Dancing at Lughnasa, adjusting his Shakespearean Hotspur to a more fiery temperature at the suggestion of Michael Kahn, head of Juilliard’s acting program – though not without arguing that Hotspur wouldn’t be speaking to the king that way.

Isaac, not surprisingly, loves a good debate.

Adler, GableStage’s artistic director and a man who is as liberal as Isaac once was conservative, savored the verbal jousting they did during rehearsals for Side Man.

“He knows exactly how to pull my chain,” Adler says with a laugh. “Intelligence is the cornerstone of all great actors, and he’s bright as hell.

“He has relentless ambition but with so much charm. He’s very hard to say no to. He has incredible raw talent and magnetism that is very rare in a young actor along with relentless energy, perseverance and ambition. I see his growth both onstage and off. He’s mature in both places.”

Part of his growth, of course, will necessarily involve dealing with the rejections that are part of any actor’s life. His career is still too new, his string of successes solid, so it’s anyone’s guess how failure will shape him. But director Michael John Garcés, who picked him for When It’s Cocktail Time in Cuba after Isaac flew to New York at his own expense to compete with a pool of seasoned Manhattan actors for the role, believes his character will see him through.

“Oscar is realistic, but he’s so willing to go the whole nine yards,” Garcés says. “He didn’t go out when he was in the show here. His focus earned the respect of the other actors, some of whom have been working in New York for 30 years.

“He hasn’t had a lot of blows yet, when the career knocks the wind out of you. But he has talent, determination and focus, and if he has perseverance – my intuition is that he does have it – he could achieve a lot.”

FAMILY TIES

His father and namesake, Baptist Hospital intensive-care physician Oscar Isaac Hernandez, couldn’t be more proud. (Isaac doesn’t use the family surname in order to avoid, in his words, being “put in that Hispanic actor box.”)

“I’m ecstatic that he’s probably going to be going to the most prestigious drama school in the United States,” he says. “School will help him focus his energies and give him discipline. He’s got the raw material and the drive.”

Isaac’s mother, Maria, divorced from his father since 1992, is a kidney-transplant recipient who acknowledges that she’ll miss her son if he moves to New York. But, she adds, she wants him “to live out his dreams. He amazes me every day. He calls me every day. I’m very proud of him.”

Even the other guys in The Blinking Underdogs are fans of Isaac’s acting, though it could take him away from South Florida just as the band appears to be, Isaac says, on the brink of signing a recording deal (it has already put out its own CD, The Last Word, with songs, lead vocals and even cover photography by Isaac.

“Oscar’s the leader of the band, a great musician who amazes me and motivates us,” says sax player Keith Cooper. “I’ve been to see every one of his plays. He’s a phenomenal actor.

“I completely buy into his role in every play. As close as I am to him, I forget it’s Oscar.”

His South Florida theater colleagues credit that to Isaac’s insatiable desire to learn and grow.

Gail Garrisan, who is directing him in Donnie and One of the Great Ones for Winter Shorts, observes, “It’s not often that you find a young actor who is willing to listen and who doesn’t think he knows everything. He loves the work.

“He really brought the young man in Side Man to life. When I saw it in New York, it seemed to be the father’s play. When I saw it here, I felt it was his [Isaac’s] play.”

Oye Rep’s John Rodaz, whom Isaac calls “the best director I’ve ever worked with,” gave the actor his first important job in Sleepwalkers at Area Stage. They met when Isaac came to see Area’s production of Oleanna and the actor, knowing Rodaz ran the theater, introduced himself.

“He has so much energy and such a sparkling personality,” Rodaz says. “He knows how to move in the world. He seems to take advantage of every situation in a good way; he’s not a cold, calculating person who’ll stab you in the back.

“[But] he wants it so badly. Everything he does, he’s the leader. When I was 21, I was taking naps.”

Rodaz coached Isaac on his Juilliard monologues and found the experience energizing.

“I got chills just watching him. That happens so rarely. I was so exhilarated when I came home that I just had to go out and run. You just know he’s got all the tools.”

Christine Dolen is The Herald’s theater critic.

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Scarface’s Tony Montana vs. Michael Corleone: Which Al Pacino is the Boss of Bosses

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Scarface hadn’t been made when Pete Townshend’s 1974 song “The Punk and the Godfather” came out, but The Godfather certainly had. The Who’s anthem was a musical allegory about the rock scene, but the lyrics might as well be interpreted as a conversation between Michael Corleone and Tony Montana. Possibly right before they rumble.

Al Pacino played both men in both movies, and in each film, he begins the story as a punk. But in The Godfather, at least, he grows into the establishment. Michael becomes don. Tony was a shooting star on the other hand, one on a collision course with an unyielding atmosphere. Both roles are smorgasbords of possibilities to an actor, especially one who chased Richard III to every imaginable outcome. Each are also master criminals. But which is more masterful?

The obvious answer would seem to be Michael Corleone because he turned a criminal empire into a multi-billion-dollar international business, and lived to a ripe old age to regret it. Cent’anni, Michael. Tony Montana doesn’t live to see the fruits of his labor, but his career in crime is littered with the successes of excess.

Montana is a hungry, young, loose cannon, just like real-life’s “Crazy” Joe Gallo, who went up against the Profaci family in the street fight which Mario Puzo and Francis Ford Coppola used as inspiration on The Godfather. Gallo stand-in Virgil “The Turk” Sollozzo (Al Lettieri) did a lot of damage while he was trying to muscle in on Don Vito Corleone’s territory, selling white powder. Montana leaves a larger body count in the wake of his cocaine empire career. 

Scarface is Pacino’s film. The whole movie is about Tony Montana and his meteoric rise through money, power and women. The Godfather is a mob movie, crowded with top rate talent in an ensemble case, but it belongs to Marlon Brando. While Michael inherits the position by The Godfather, Part II, he shares Godfather roles with Robert De Niro there, and people come away feeling a little sorry for Fredo. Michael isn’t the focus of an entire film until The Godfather, Part III, and by then folks were only distracted by his daughter. Tony Montana owns the screen from the moment it opens until his last splash in the fountain under the “World Is Yours” sign. The picture was his.

Making Your Bones on First Kills

Pacino brings little of the wisdom of his Godfather role to Scarface’s title character. This is by design. Every crime boss has to make his bones. In mafia organizations, real and cinematic, the button men on the street are called soldiers. And every soldier has to go through basic training before they’re ready to earn their button. Michael gets assassination training from his father’s most trusted capo, Pete Clemenza (Richard S. Castellano) before he goes out to enjoy the veal.

Scarface doesn’t give us many details of the crimes Tony was involved in while still in Cuba, so he makes his cinematic bones executing General Emilio Rebenga in the American detention camp for Cuban refugees. The two scenes are polar opposites in all ways but suspense.

When Michael is sitting at the dinner table with Sollozzo and Police Captain McCluskey (Sterling Hayden), he lets Sollozzo do all the talking, easing him into comfort before pulling the trigger. Tony barely lets Rebenga get a whimper in during his first onscreen hit, which plays closer to an execution. Tony covers the sounds of his own attack with a chant he himself begins. It is a brilliant overplay, especially when compared to another scene that resembles The Godfather, with Tony killing a mid-level gangster and a crooked cop towards the end of Scarface. 

A major difference between the two roles is best summed up in a line Tony says in Scarface. He learned to speak English by watching James Cagney and Humphrey Bogart. Montana comes from the Cagney tradition of broad gangster characterizations. In The Godfather, Kay Adams (Diane Keaton) asks Michael if he’d prefer Ingrid Bergman. The young soldier has to think about it. This is because Pacino is miles removed here from Bogart, who played Bergman’s lover in Casablanca. Pacino’s two gangster icons approached their criminality differently, and Pacino gets to play in both yards.

Pacino remains on an even keel in the Godfather films, but gives a tour de force of violent expression in Scarface, which burns like white heat.

The Handling of Enemies and Vices

In Scarface, Pacino gets to be almost as over the top as he is in Dick Tracy. His accent would never make it past the modern culture board at The Simpsons, but he pulls it off in 1983 because he says so. Pacino bullies the audience into believing it. It’s that exact arrogance which makes us root for Tony Montana. We don’t want to be on his bad side. But the chilled reptilian stare of Michael Corleone is a visual representation of why Sicilians prefer their revenge served cold.

Michael is diabetic, and is usually seen drinking water in The Godfather films. Sure, he has an occasional glass or red wine, and possibly some Sambuca with his espresso, but Michael always keeps a clear head. Tony, not so much. He makes drunken scenes at his favorite nightclubs, and not only gets high on his own supply, but gets so nose deep in it he develops godlike delusions of superheroic grandeur.

Montana is impulsive, instinctive, and decisive. Tony kills his best friend Manny Ribera (Steven Bauer) immediately upon finding him with his little sister Gina (Mary Elizabeth Mastrantonio). Michael waits until his sister Connie (Talia Shire) is on a plane to Tahoe before he has her husband killed in a hit years in the planning. Later Michael hangs his head silently as the shotgun blast which kills his brother, Fredo (John Cazale), echoes in the distance.

Tony, meanwhile, continues yelling at Sosa’s right-hand man long after his brains are all over the automobile’s interior.

Clothes Make the Man

Tony is written to be charismatic. Even coked out of his mind, he’d be a better fit in Vegas with Fredo’s crowd than with wet blanket Michael in Tahoe. Tony sports white suits, satin shirts, and designer sunglasses. Michael accessorizes three-piece ensembles with an ascot. This isn’t to say Michael had any issues with getting somebody’s brains splattered all over his Ivy League suit. 

Designed by Theadora Van Runkle, Michael preferred dupioni silk. That’s smart. The dark navy wool chalk-stripe suit Tony wears in his death scene was designed by Tommy Velasco and carries the class of a tuxedo. It was after 6pm. What do you think he is, a farmer?

“I’m the guy in the sky, flying high, flashing eyes. No surprise I told lies, I’m the punk from the gutter,” Roger Daltrey belts out on “The Punk and The Godfather.” This is exactly against the no-flash advice Frank Lopez (Robert Loggia) tries to impart on his young protégé in Scarface. Tony was raised not to take any advice other than his own. He also ignores his consigliere’s advice on several occasions. When Manny reminds Tony the pair of them were in a cage a year ago, the rebel gangster says he’s trying to forget that, he’s going after the boss’ girl. 

“I come from the gutter,” Montana proudly contends. “I know that. I got no education but that’s okay. I know the street, and I’m making all the right connections.” 

By contrast, Michael attended Dartmouth College and then dropped out to join the Marines after the attack on Pearl Harbor. Michael is both intelligent and well-connected, loosely modeled on Joseph Bonanno and Vito Genovese. He also accepts the wisdom of his father, who most closely resembled “The Prime Minister” of New York’s Five Families in the 1950s, mafia boss Frank Costello.

The Better Family Man

Pacino’s Don Michael Corleone has access to all his family’s connections, stretching back to the old world. He learns to expertly pull the strings of powerful men, like his father did, but as he grew, he bent. Michael is friends with senators, meets with the President of Cuba, has money in the Vatican, and confesses his sins to a Pope. Michael was insulated throughout his childhood and criminal career. If Tony gets in trouble, he has to get out of it himself, or with the help of a handful of low-level operatives.

Michael is the family rebel, risking his life and getting medals for strangers. He also gets to be both the prodigal son and the dutiful son. He gets the fatted calf and pays the piper. He even tips the baker’s helper for the effort. Michael comes back to both of his families, crime and birth, with a vengeance. He is there for his father the moment he is needed. Michael is the better family man. Tony’s mother is ashamed of him, and he completely ruins his sister’s wedding. Michael’s family means everything to him, and while he still manages to lose them, he actually maneuvers his two families well over rough waters for a very long run.  

Tony Montana is the rebel’s rebel. Even before he tosses off his bandana at the dishwasher job to make a quick score, we knew. He was born bad, in the cinematically good way. This also makes Montana a natural at crime. In The Godfather, Michael has it in his blood as a Corleone, but has his heart set on college, a straight career, and a shot to bring his whole family into the American Dream, which for Montana only exists as a wet dream.

Tony never gets past the hormonal teenage phase of his love of America. He wants to love his new country to death. He is turned on by the dream. He wants to take it. Not earn it. No foreplay necessary, as he claims his latest victim’s wife as his own.

Managerial Skills

Michael is pretty good with his underlings, when he’s not having them garroted on the way to an airport or advising them to slit their wrists in a bath. He promises Clemenza he can have his own family once the Corleones relocate to Las Vegas. He lets Joe Zaza (Joe Mantegna) get away with murder as the guy he sets up to run his old territory in The Godfather, Part III. Michael doesn’t keep turncoats like his trusted caporegime Tessio (Abe Vigoda) around for old times’ sake, and he doesn’t suffer fools at all. It may seem he cuts Tom Hayden (Robert Duvall) loose a little fast, and without warning or due cause. But if he was a wartime consigliere, he would have seen it coming.

While Tony Montana may have a competitive and fast-tracked entry program for new workers (“hey, you got a job”), he’s also the guy who shoots his right-hand man Manny for marrying his sister. Tony exacts a brutal and dangerous revenge for the death of his friend Angel Fernandez in the Miami chainsaw massacre, but doesn’t lift a finger when his cohort Omar Suarez (F. Murray Abraham) is hanged to death from a helicopter by drug lord Alejandro Sosa (Paul Shenar). Michael does have a tendency to have his soldato kiss his ring, but he’s not entirely a .95 caliber pezzonovante.

Read more

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One of the most important skills a boss must exhibit is how to delegate, and Corleone is a minor Machiavellian master at his delegation. He whispers orders from behind closed doors. Tony is more hands-on. The only reason he tells Manny to “kill that piece of shit” Frank is because he’s already humiliated his former boss into a shell of a real man.

Montana is in the trenches with his soldiers and sets standards by example. He shoots a guy on a crowded Miami street in broad daylight. Montana is a born triggerman and only reluctantly delegates the duty. He has 10 bodyguards when Sosa men raid his mansion fortress. He takes the invading force with one little friend, an M16A1 rifle with a customized grenade launcher. But it sure doesn’t help the employees getting murdered outside.

A Handle on Finances

We don’t know what kinds of criminal activities the Corleone family were involved in between 1958 and 1979. Still, Michael had proven himself a traditionalist and a bit of a prude, so he spends most of his career shaving his take from harmless vices and avoiding drugs, which he sees as a dirty business. But through whatever means, by The Godfather, Part III, Michael has earned enough capital to buy himself out of crime.

Michael gambles successfully on Wall Street, keeps the Genco olive oil company going, and invests in hotels, casinos, and movie studios. He’s got to be pulling in a billion dollars a year in legitimate business. He makes enough to pad the coffers of the Vatican, and his share of Immobiliare stocks pulls in another $1 billion.

Tony looks like he’s earning about $15 million a month. But it doesn’t look like he puts much stock in his future. He makes no investments, only purchases. His only visible holding is the salon his sister works in. But we also have to take into account that he built his empire from scratch. Michael inherited his. And while the head of the Corleone family can blackmail a U.S. senator with a tragic sex scandal, Montana fares no better than Al Capone with tax evasion.

Who Would Win in a Mob War?

Scarface is as violent as the 1932 Howard Hawk original. Blood is a big expense, and 42 people are killed in the 1985 film. It came out amid other over-the-top action blockbusters like First Blood and the contemporary reality of the South American drug trade. So, it would seem, the film has far more violence. But they are easily matched.

The Godfather has a horse’s head, Scarface has a chainsaw. Michael’s brother Sonny (James Caan) gets machine gunned to smithereens at the toll booth, Tony blows the lower limbs off his would-be assassins at a nightclub. Omar is lynched in a chopper, the upper echelon of the mob is taken out by helicopter fire in The Godfather, Part III. Tony and Michael each get to kill a cop.

Both mob figures survive assassination attempts. Michael loses his wife Apollonia in Sicily in a car bombing meant for him. He also avoids the trap Tessio sets at the meeting with Emilio Barzini (Richard Conte), on his turf, where Michael “will be safe.” Tony lives through his initial professionally ordered hit, as well as being saved by Manny from certain death by chainsaw.

While Michael Corleone is able to take care of Barzini, Victor Stracci, Carmine Cuneo, and Phillip Tattaglia – the leadership of the five families – at the end of The Godfather, Tony Montana can only put up a good fight. The Corleone family would win in a protracted war against Montana’s cartel, but there is a possibility Tony would have outlived Michael while the battles raged. Expert swordsmen aren’t afraid to duel the best in the field, but they’re scared of the worst. 

As far as crime tactics and strategic villainy, Michael Corleone plays a game of chess. Tony Montana plays hopscotch. He wins by skipping cracks in the street, but he only rises as far as the pavement.

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N

NAME: ___________________________________ ROLE: ____________________________________ 2 NEWSIES ACT ONE PROLOGUE: Rooftop, Dawn #1- Overture (Summer, 1899. A figure sleeps peacefully on a rooftop amid the moonlit Manhattan cityscape. It is JACK, a charismatic boy of seventeen. Across the rooftop, another figure stirs. CRUTCHIE, a slight and sickly boy of fifteen, walks with the aid of a wooden crutch. He crosses to the fire escape ladder and fumbles, trying to climb down. JACK stirs.) #2- Santa Fe (Prologue)- Jack, Crutchie JACK: Where you going? Morning bell ain’t rung yet. Get back to sleep. CRUTCHIE: I wanna beat the other fellas to the street. I don’t want anyone should see; I ain’t been walkin’ so good. JACK: Quit gripin’. You know how many guys fake a limp for sympathy? That bum leg of yours is a gold mine. CRUTCHIE: Someone gets the idea I can’t make it on my own, they’ll lock me up in The Refuge for good. Be a pal, Jack. Help me down. (loses his footing and almost falls, yelps.) Whoa!!!! (JACK rushes to CRUTCHIE’S rescue, pulling him back from danger.) JACK: You wanna bust your other leg, too? CRUTCHIE: No. I wanna go down. JACK: You’ll be down there soon enough. Take a moment to drink in my penthouse high above the stinkin’ streets of New York. CRUTCHIE: You’re crazy. JACK: Because I like a breath of fresh air? ‘Cause I like seein’ the sky and the stars? CRUTCHIE: You’re seein’ stars all right! JACK: Them streets down there sucked the life right outta my old man. Years of rotten jobs, stomped on by bosses. And when they finally broke him, they tossed him to the curb like yesterday’s paper. Well, they ain’t doin’ that to me. CRUTCHIE: But everyone wants to come here. JACK: New York’s fine for those what can afford a big strong door to lock it out. But I tell you, Crutchie, there’s a whole other way out there. So you keep your small life in the big city. Give me a big life in a small town. THEY SAY FOLKS IS DYIN’ TO GET HERE, ME I’M DYIN’ TO GET AWAY TO A LITTLE TOWN OUT WEST THAT’S SPANKIN’ NEW AND WHILE I AIN’T NEVER BEEN THERE I CAN SEE IT CLEAR AS DAY IF YOU WANT, I BET’CHA YOU COULD SEE IT TOO 3 CLOSE YOUR EYES, COME WITH ME WHERE IT’S CLEAN AND GREEN AND PRETTY AND THEY WENT AND MADE A CITY OUTTA CLAY WHY, THE MINUTE THAT YA GET THERE FOLKS’LL WALK RIGHT UP AND SAY ”WELCOME HOME, SON WELCOME HOME TO SANTA FE!” (CRUTCHIE is taken under JACK’S spell.) PLANTIN' CROPS, SPLITTIN' RAILS SWAPPIN' TALES AROUND THE FIRE 'CEPT FOR SUNDAY WHEN YOU LIE AROUND ALL DAY SOON YOUR FRIENDS ARE MORE LIKE FAMILY AND THEY'S BEGGIN' YOU TO STAY! AIN'T THAT NEAT? LIVIN' SWEET, IN SANTA FE CRUTCHIE: You got folks there? JACK: Got no folks nowhere. You? CRUTCHIE: I don’t need folks. I got friends. JACK: How’s about you come with me? No one worries about no gimp leg in Santa Fe. You just hop a palomino and ride in style. CRUTCHIE: Feature me: ridin’ in style. JACK: I bet a few months of clean air and you could lose that crutch for good. JACK & CRUTCHIE: SANTA FE, YOU CAN BET WE WON’T LET THEM TOUGH GUYS BEAT US WE WON’T BEG NO ONE TO TREAT US FAIR AND SQUARE THERE'S A LIFE THAT'S WORTH THE LIVIN' AND I'M GONNA DO MY SHARE JACK: WORK THE LAND, CHASE THE SUN JACK & CRUTCHIE: SWIM THE WHOLE RIO GRANDE JUST FOR FUN! CRUTCHIE: (stands on his own.) WATCH ME STAND! WATCH ME RUN... (CRUTCHIE realizes his recover is just a fantasy, and turns away from JACK.) JACK: Hey... (CRUTCHIE looks at him. JACK wraps his arms around his friend protectively.) DON'T YOU KNOW THAT WE'S A FAMILY? WOULD I LET YOU DOWN? NO WAY JUST HOLD ON, KID 'TIL THAT TRAIN MAKES SANTA FE (CRUTCHIE leans against JACK as the sun rises behind them. The church bell tolls 5 a.m., which breaks the spell.) JACK: Time for dreamin’s done. (JACK takes CRUTCHIE’S crutch and bangs it on the fire escape metal, sounding an alarm.) Hey! Specs, Racer, Henry, Albert, Elmer. Get a move on, boys. Them papes don’t sell themselves! #2A- Prologue (Playoff) SCENE ONE: Newsboys’ Lodging House & Newsie Square (RACE, a little tough guy, calls to the others as he dresses.)

4 RACE: Hey, Albert, Elmer, Specs! You heard Jack. Get a move on. (ALBERT appears next to him, still wiping the sleep from his eyes.) ALBERT: I was havin’ the most beautiful dream. My lips is still tingling. RACE: A pretty girl? ALBERT: A leg of lamb! #3- Carrying the Banner- Jack, Newsies, Nuns (More BOYS begin to appear as they dress and wash. ALBERT smokes a cigar.) RACE: Hey! That's my cigar! ALBERT: YOU'LL STEAL ANOTHER. SPECS: (Referring to the other BOYS,) HEY, LOOK, IT'S BATH TIME AT THE ZOO. HENRY: I THOUGHT THAT I'D SURPRISE MY MOTHER. ALBERT: If you can find her. NEWSIES: Who asked you? ALBERT: Papes ain’t movin’ like they used to. I need a new sellin’ spot. Got any ideas? RACE: FROM BOTTLE ALLEY TO THE HARBOR THERE'S EASY PICKIN'S GUARANTEED. FINCH: TRY ANY BANKER, BUM OR BARBER. THEY ALMOST ALL KNOWS HOW TO READ. JACK: IT'S A CROOKED GAME WE'RE PLAYIN', ONE WE'LL NEVER LOSE LONG AS SUCKERS DON'T MIND PAYIN' JUST TO GET BAD NEWS! (The NEWSIES move outdoors to the Newsie Square.) NEWSIES: AIN'T IT A FINE LIFE CARRYING THE BANNER THROUGH IT ALL! A MIGHTY FINE LIFE CARRYING THE BANNER TOUGH AND TALL. WHEN THAT BELL RINGS, WE GOES WHERE WE WISHES. WE'S AS FREE AS FISHES, SURE BEATS WASHIN' DISHES. WHAT A FINE LIFE, CARRYING THE BANNER HOME FREE ALL! (KATHERINE, a lovely young lady, walks by with a friend. ROMEO spots her and starts towards her, but JACK sees her too.) ROMEO: Well, hello, hello, hello, beautiful. JACK: Step back, Romeo. Nothin’ what concerns you here. (moves ROMEO aside and shoots to KATHERINE.) Morning Miss. Can I interest you in the latest news? KATHERINE: The paper isn’t out yet. JACK: I’d be delighted to bring it to you personally. KATHERINE: I’ve got a headline for you: “Cheeky Boy Gets Nothing for His Troubles!” (KATHERINE brushes past JACK and joins her friend.) ROMEO: Back to the bench slugger. You struck out. JACK: (Feigning pain) I’m crushed. FINCH: Hey, Crutchie. What's your leg say? Gonna rain? CRUTCHIE: (shakes his leg) No rain. Partly cloudy. Clear by evening. FINCH: They oughta bottle this guy. RACE: And the limp sells fifty papes a week all by itself. CRUTCHIE: I don't need the limp to sell papes. I got personality. IT TAKES A SMILE THAT SPREADS LIKE BUTTER 5 THE KIND WHAT TURNS A LADY'S HEAD. RACE: IT TAKES AN ORPHAN WITH A STUTTER, FINCH: WHO'S ALSO BLINDALBERT: AND MUTEELMER: AND DEAD! JACK & CRUTCHIE: SUMMER STINKS AND WINTER'S FREEZIN' WHEN YOU WORKS OUTDOORS. JACK, CRUTCHIE, BUTTONS, SPLASHER, & TOMMY BOY: START OUT SWEATIN', END UP SNEZIN', NEWSIES: IN BETWEEN IT POURS! STILL IT'S A FINE LIFE, CARRYING THE BANNER WITH ME CHUMS, (STILL IT’S A FINE LIFE, CARRYING THE BANNER) A BUNCH OF BIG SHOTS, TOSSIN' OUT A FREEBIE TO THE BUMS. (A BUNCH OF BIG SHOTS, TOSSIN’ OUT A FREEBIE) FINCH: (calling to the NEWSIES) HEY! WHAT'S THE HOLD UP? WAITIN' MAKES ME ANTSY. I LIKES LIVIN' CHANCEY NEWSIES: HARLEM TO DELANCEY. WHAT A FINE LIFE CARRYING THE BANNER THROUGH THE... (A group of NUNS appears and distributes a breakfast of coffee and doughnuts to the NEWSIES) NUNS: BLESSED CHILDREN, THOUGH YOU WANDER LOST AND DEPRAVED, JESUS LOVES YOU. YOU SHALL BE SAVED. ELMER: Thanks for the grub, Sistuh. NUN 1: Elmer, when are we going to see you inside the church? ELMER: I don’t know, Sistuh. But it’s bound to rain sooner or later. (SIMULTANEOUS) NUNS: BLESSED CHILDREN, AH. JESUS LOVES YOU, AH RACE: CURDLED COFFEE, CONCRETE DONUTS SPRINKLED WITH MOLD, HOMEMADE BISCUITS, JUST TWO YEARS OLD. ELMER: JUST GIVE ME HALF A CUP. HENRY: SOMETHING TO WAKE ME UP. ROMEO: I GOTTA FIND AN ANGLE. TOMMY BOY: IT'S GETTING BAD OUT THERE. MUSH: PAPERS IS ALL I GOT. SPECS: IT'S EIGHTY-EIGHT DEGREES. JO JO: JACK SAYS TO CHANGE MY SPOT. ALBERT: WISH I COULD CATCH A BREEZE. FINCH: MAYBE IT'S WORTH A SHOT. BUTTONS: ALL I CAN CATCH IS FLEAS. JACK: IF I HATE THE HEADLINE. I'LL MAKE UP A HEADLINE. JACK & A FEW NEWSIES: AND I'LL SAY ANYTHING I HAVE'TA JACK & MORE NEWSIES: 'CAUSE AT TWO FOR A PENNY, IF I TAKE TOO MANY WEASEL JUST MAKES ME EAT 'EM AFTA.

(The NEWSIES continue their journey through downtown Manhattan.) NEWSIE GROUP 1: (SIMULTANEOUSLY WITH NEWSIE GROUP 2 BELOW): GOT A FEELIN' 'BOUT THE HEADLINE! I SMELLS ME A HEADLINE! PAPES ARE GONNA SELL LIKE WE WAS GIVIN' 'EM AWAY! 6 BET'CHA DINNER IT'S A DOOZY, 'BOUT A PISTOL-PACKIN' FLOOZY WHO KNOWS HOW TO MAKE A NEWSIE'S DAY NEWSIE GROUP 2: I DO, TOO! SO IT MUST BE TRUE! WHAT A SWITCH! SOON WE'LL ALL BE RICH! DON'T KNOW ANY BETTER WAY TO MAKE A NEWSIES DAY! NEWSIES: YOU WANNA MOVE THE NEXT EDITION? GIVE US AN EARTHQUAKE OR A WAR. ELMER: HOW 'BOUT A CROOKED POLITICIAN? NEWSIES: YA NITWIT, THAT AIN'T NEWS NO MORE! UPTOWN TO GRAND CENTRAL STATION, DOWN TO CITY HALL, WE IMPROVES OUR CIRCULATION WALKIN' 'TILL WE FALL! NEWSIE GROUP 1 (SIMULTANEOUS WITH NEWSIE GROUP 2 BELOW): BUT WE'LL BE OUT THERE CARRYING THE BANNER MAN TO MAN. WE'RE ALWAYS OUT THERE SOAKIN' EV'RY SUCKER THAT WE CAN. HERE'S THE HEADLINE: NEWSIES ON A MISSION! KILL THE COMPETITION! SELL THE NEXT EDITION! WE'LL BE OUT THERE CARRYING THE BANNER! SEE US OUT THERE CARRYING THE BANNER! ALWAYS OUT THERE CARRYING THE BANNER! NEWSIE GROUP 2: GOT A FEELIN' 'BOUT THE HEADLINE! I SMELLS ME A HEADLINE! PAPES ARE GONNA SELL LIKE WE WAS GIVIN' 'EM AWAY! BET'CHA DINNER IT'S A DOOZY 'BOUT A PISTOL-PACKIN' FLOOZY! DON'T KNOW ANY BETTER WAY TO MAKE A NEWSIE'S DAY! I WAS STAKIN' OUT THE CIRCUS, AND THEN SOMEONE SAID THAT CONEY'S REALLY HOT, BUT WHEN I GET THERE, THERE WAS SPOT WITH ALL HIS CRONIES. HECK, I'M GONNA TAKE WHAT LITTLE DOUGH I GOT AND PLAY THE PONIES! WE AT LEAST DESERVE A HEADLINE FOR THE HOURS THAT THEY WORK US. JEEZ, I BET IF I JUST STAYED A LITTLE LONGER AT THE CIRCUS... (The NEWSIES have arrived at the locked gate in front of the World- a prominent newspaper owned by Joseph Pulitzer.) FINCH: Hey, look! They’re puttin’ up the headline. SPECS: I hope it’s really bloody. With a nice clear picture. ROMEO: Please be murder, please be a murder! (A large chalkboard looms above. The NEWSIES watch in anticipation as a MAN writes the headline in large letters, “TROLLEY STRIKE ENTERS THIRD WEEK.”) ELMER: The trolley strike? IKE: Not again! RACE: Three weeks of the same story. FINCH: They’re killin’ us with that snoozer. SCRUB: I was hopin’ to eat today. (Two tough-looking boys, OSCAR and MORRIS DELANCEY, unlock the gates.) MORRIS: Make way. Step aside. 7 RACE: Dear me, what is that unpleasant aroma? I fear the sewer may have backed up during the night. PEPPER: Or could it be... NEWSIES: ...the Delancey brothers. FINCH: Hey, Oscar, word on the street says you and your brother took money to beat up striking trolley workers. OSCAR: So? It’s honest work. ALBERT: But crackin’ the heads of defenseless workers? OSCAR: I take care of the guy who takes care of me. RACE: Ain’t your father one of the strikers? OSCAR: Guess he didn’t take care of me! (As if to make his point, MORRIES grabs CRUTCHIE and throws him to the ground.) MORRIS: You want some of that too? Ya lousy crip! (JACK pulls CRUTCHIE back to his feet and then confronts the DELANCEYS. The NEWSIES back up to give JACK room.) JACK: Now that’s not nice, Morris. RACE: Five to one Jack skunks ‘em! SWISH: My money’s on Jack! JACK: One unfortunate day you might find you got a bum gam of your own. How’d you like us pickin’ on you? Maybe we should find out. (And with that, Jack takes CRUTCHIE’S walking stick and smacks the DELANCEYS in the shins, knocking them both to the ground.) OSCAR: Wait till I get my hands on you. JACK: Ya gotta catch me first. (A chase ensues as the NEWSIES sing and dance their way in through the front gate....) NEWSIES: WE'LL ALL BE OUT THERE CARRYING THE BANNER MAN TO MAN. WE'RE ALWAYS OUT THERE SOAKIN' EV'RY SUCKER THAT WE CAN. HERE'S THE HEADLINE: “NEWSIES ON A MISSION!” KILL THE COMPETITION! SELL THE NEXT EDITION! WE'LL BE OUT THERE CARRYING THE BANNER! SEE US OUT THERE CARRYING THE BANNER! ALWAYS OUT THERE CARRYING THE BANNER! AH, AH, AH, GO! (The NEWSIES arrive at the distribution windows of the World. WIESEL, an ill-tempered, rumpled man,

appears with the DELANCEYS to collect the money and distribute the papers to the NEWSIES.) WIESEL: Papers for the Newsies! Line up! (JACK is first to the window.) JACK: Good morning, Weasel. Did you miss me? WIESEL: That’s Wise-el. JACK: Ain’t that what I said? (Slapping down his money.) I’ll take the usual. WIESEL: A hundred papes for the wise guy. (OSCAR hands over the papers and RACE moves up to the window.) RACE: How’s it going, Weasel? WIESEL: At least call me “mister.” RACE: I’ll call you sweetheart if you’d spot me fifty papes. (The other NEWSIES laugh.) WIESEL: Drop the cash and move it along. 8 RACE: (slapping down his coin) Whatever happened to romance? WIESEL: Fifty for the Race. Next! CRUTCHIE: Good morning, Mr. Wiesel. WIESEL: Fifty papes for Crutchie. (DAVEY, a 17-year-old-boy who appears out of his element, and his kid brother LES, are next in line.) Have a look at this: a new kid. LES: I’m new too! KNUCKLES: Ya don’t say. RACE: Don’t worry, kid- rubs right off. DAVEY: I’ll take twenty newspapers, please. WIESEL: Twenty for the new kid. Let’s see the dime. DAVEY: I’ll pay you when I sell them. WIESEL: Funny, kid. C’mon, cash up front. DAVEY: But whatever I don’t sell, you buy back, right? WIESEL: Certainly. And every time you lose a tooth I put a penny under your pillow. This kid’s a riot. C’mon. Cough up the cash or blow. (Davey hands over a dime, gets his papers, and looks them over.) Come on, move along. Albert, lemme see your money. ALBERT: You have a very interestin’ face. Ever think of getting’ into the movin’ pictures? WIESEL: You think I could? ALBERT: Sure. Buy a ticket, they let anyone in. WIESEL: Beat it, will ya? DUCKY: Twenty papers please. DAVEY: Sorry. Excuse me. I paid for twenty but you gave me nineteen. (EVERYONE freezes and watches. JACK swoops in and quickly counts the papers.) WIESEL: You seen how nice I was to dis new kid? And what did I get for my civility? Ungrounded accusations. DAVEY: I just want what I paid for. OSCAR: He said beat it! (The DELANCEYS start to crack their knuckles.) JACK: New kid’s right, Weasel. Ya gave him nineteen. I’m sure it was an honest mistake on account’a Oscar can’t count to twenty with his shoes on. (OSCAR threatens to attack. WIESEL pushes him back and tosses another paper to DAVEY.) WIESEL: Here. Now take a hike. JACK: (flipping a coin onto the counter) Give him another fifty papes. DAVEY: I don’t want more papes. JACK: What kind’a Newsie don’t want more papes? (Oscar hands DAVEY a stack of papers. DAVEY follows JACK with them.) DAVEY: I’m no charity case. I don’t even know you. LES: His name’s Jack. CRUTCHIE: This here is the famous Jack Kelly. He once escaped jail on the back of Teddy Roosevelt’s carriage. Made all the papes. JACK: (to LES) How old are you, kid? LES: I’m ten. Almost. JACK: If anybody asks, you’re seven. Younger sells more papes, and if we’re gonna be partners.... DAVEY: Who said we want a partner? CRUTCHIE: Sellin’ with Jack is the chance of a lifetime. You learn from him, you learn from the best. 9 DAVEY: If he’s the best, what’s he need with me? JACK: ‘Cause you got a little brother and I don’t. That face could sell a thousand papes a week. (to LES) Look sad, kid. (LES makes a sad face.) We’re gonna make millions. LES: This is my brother David. I’m Les. JACK: Nice to meet ya, Davey. My two bits come off the top, and we split everything 70-30. LES: 50-50! You wouldn’t try to pull a fast one on a little kid. JACK: 60-40 and that’s my final offer. LES: Deal. (JACK spits in his hand and holds it out to shake. LES copies him and they shake.) DAVEY: That’s disgusting. JACK: It’s just business. (to ALL) Newsies, hit the streets. The sun is up, the headline stinks, and this kid ain’t getting’ any younger! #3- Carrying The Banner (Tag)- Newsies NEWSIES: WE'LL ALL BE OUT THERE CARRYING THE BANNER MAN TO MAN. WE'RE ALWAYS OUT THERE SOAKIN' EV'RY SUCKER THAT WE CAN. HERE'S THE HEADLINE: “NEWSIES ON A MISSION!” KILL THE COMPETITION! SELL THE NEXT EDITION! WE'LL BE OUT THERE CARRYING THE BANNER!

SEE US OUT THERE CARRYING THE BANNER! ALWAYS OUT THERE CARRYING THE BANNER! AH, AH, AH, GO! (The NEWSIES exit as the scene shifts to...) SCENE TWO: Pulitzer’s Office, Afternoon (Editor SEITZ, secretary HANNAH, and accountant BUNSEN huddle in a business meeting. The mogul, JOSEPH PULITZER, is having his hair cut by NUNZIO, the barber.) PULITZER: Staff, the World is in trouble. Our circulation is down for the third quarter in a row. SEITZ: But, Mr. Pulitzer, every paper’s circulation is down since the war ended. PULITZER: Whoever said, “war is a tragedy”, wasn’t trying to sell newspapers. BUNSEN: We could use an exciting headline. PULITZER: What have we got today? SEITZ: The trolley strike. PULITZER: That’s not exciting? It’s epic! HANNAH: It’s boring. Folks wanna know, “Is the trolley comin’ or ain’t it?” No one cares why. SEITZ: And the strike’s about to be settled. Governor Roosevelt just put his support behind the workers. PULITZER: That man is a socialist. SEITZ: Teddy Roosevelt is no socialist. He’s an American hero. PULITZER: The man wants to outlaw football for being too violent. Football! Violent?! You’re right. He’s not socialist. He’ a commie! NUNZIO: Mr. Pulitzer, please, you must try to sit still. PULITZER: Gentlemen, please, you are making Nunzio nervous. And when Nunzio gets nervous, I don’t look pretty. (PULITZER sits back.) HANNAH: You never liked Roosevelt. You wrote and editorial against him day after day when he ran for governor. And guess what? He got elected. PULITZER: How can I influence voters if they’re not reading my opinion? 10 SEITZ: Big photos attract readers. PULITZER: Do you know what big photos cost? BUNSEN: But without flashy photos or headlines, how are we supposed to sell more papers. PULITZER: There’s an answer right before your eyes. You’re not thinking this through. People... #3- The Bottom Line- Pulitzer, Seitz, Bunsen, Hannah PULITZER: NUNZIO KNOWS WHEN HE’S CUTTING MY HAIR TRIM A BIT HERE AND THEN TRIM A BIT THERE JUST A MODEST ADJUSTMENT CAN FATTEN THE BOTTOM LINE NUNZIO: Mr. Pulitzer, please. PULITZER: SHAVING IS TRICKY: THE RAZOR SHOULD FLOAT SHAVE ME TOO CLOSE, AND YOU MAY CUT MY THROAT IT’S THE SIMPLEST SOLUTIONS THAT BOLSTER THE BOTTOM LINE BUNSEN: But how does that help us sell more papers? HANNAH: We don’t sell papers, silly, Newsies sell papers. BUNSEN: I’ve got it! Right now we charge the Newsies fifty cents for a hundred papers. PULITZER: Yes... BUNSEN: But if we raised their price to sixty cents per hundred... PULITZER: Now you’re getting somewhere... SEITZ: A mere tenth of a penny per paper. BUNSEN: Every single Newsie would have to sell twenty-five more papers just to earn the same amount as always. PULITZER: My thoughts exactly. It’s genius. HANNAH: It’s going to be awfully rough on those children. PULITZER: Nonsense. I’m giving them a real life lesson in economics. I couldn’t offer them a better education if they were my own. GIVE ME A WEEK AND I’LL TRAIN THEM TO BE, LIKE AN ARMY THAT’S MARCHING TO WAR PROUD OF THEMSELVES AND SO GRATEFUL TO ME, THEY’LL BE BEGGING TO PAY EVEN MORE! WHEN THERE’S DIRT ON OUR SHOES, BOYS, YOU HAVE TO RELAX! WHY THROW THEM OUT? ALL WE NEED IS SOME WAX LISTEN WELL TO THESE BARBERSHIP LESSONS FOR THEY’LL SEE YOU THROUGH! SIETZ, HANNAH & BUNSEN: WHEN YOU’RE STUCK IN THE MUCK, YOU’LL BE FINEYOU’LL ERASE ANY TRACE OF DECLINE SEITZ: WHAT A TRIM! HANNAH: AND A SNIP! BUNSEN: AND A SHINE! PULITZER: AND THE POWER OF PRESS, YES! ONCE AGAIN IS MINE! PULITZER: The price for the Newsies goes up in the morning! PULITZER: JUST A FEW COMMON CENTS, GENTS, THAT’S THE BOTTOM LINE! SIETZ, HANNAH & BUNSEN: EV’RY NEW OUTCOME IS INCOME FOR YOU, THANKS TO THAT BOTTOM LINE! (The lights shift from the office to the NEWSIES during the scene transition.) #4A- Carrying The Banner (Reprise)- Newsies 11 NEWSIES: SUN UP TO SUNDOWN, KNOWIN’ WHERE MY CUSTOMERS’LL BE SUN UP TO SUNDOWN, WATCHIN’ ALL THE LADIES WATCHIN’ ME WALKED MY SHOES OFF, GOT THE DOUGH TO SHOW IT PROBABLY I’LL BLOW IT, THEN BEFORE YOU KNOW IT WE’LL BE OUT THERE, CARRYING THE BANNER….

(The scene shifts to...) SCENE THREE: A Street Corner (JACK leans against a building as DAVEY attempts to peddle papers to a GROUP OF GIRLS.) GIRL 1: And he said I couldn’t see him again! GIRL 2: Who? Your father? GIRL 1: Yeah, just because he didn’t… GIRL 3: Wait, I thought he worked for him? DAVEY: Paper. Paper. Evenin’ pape here. Care for a paper ladies? (The GIRL GROUP giggles) GIRL 2: No thanks. GIRL 3: He was cute! JACK: Sing ‘em to sleep why dontcha? (Snatches a paper from DAVEY and hawks it.) Extra! Extra! Terrified flight from burnin’ inferno! You heard the story right here! PASSERBY: Oh no! What burned down? (PASSERBY snatches the paper from JACK, hands him a coin JACK: Thanks madam! (PASSERBY opens the paper and exits in a rush.) DAVEY: You made that up. JACK: Did not. I said he heard it right here, and he did. DAVEY: My father taught us not to lie. JACK: And mine taught me not to starve. (LES comes up empty-handed.) LES: Hey! I just sold my last paper. DAVEY: I got one more. JACK: Sell it or pay for it. LES: Give it here. (takes the paper, sidles up to a WOMAN and SALLY passing by, and puts the saddest look on his face.) Buy a paper from a poor orphan boy? (LES coughs gently.) WOMAN: Oh, you dear thing. Of course I’ll take a newspaper. Here’s a dime. (The WOMAN and SALLY exit with the paper. SALLY turns and smiles at LES before leaving.) JACK: Born to the breed. LES: This is so much better than school! DAVEY: Don’t even think it. When Pop goes back to work, we go back to school. (While the boys talk, SNYDER, a sinister looking man, sees JACK and steps back again a building. He seems excited to have spotted the boy. Cautiously, he flags down a POLICEMAN and whispers to him.) JACK: So’s how about we divvy up the money, grab some chow, then find you’s somewhere save to spend the night? DAVEY: We gotta get home. Our folks will be waitin’ dinner. JACK: Ya got folks, huh? LES: Doesn’t everybody? DAVEY: (Elbows his brother) Our dad tangled with a delivery truck on the job. Messed his leg up bad, so 12 they laid him off. That’s how come we had to find work. JACK: Yeah, sure, that makes sense. Too bad about your dad. DAVEY: Why don’t you come home with us for dinner? Our folks would be happy to have you. LES: Mom’s a great cook. JACK: Thanks for the invite, but I just remembered I got plans with a fella. He’s probably waiting on me right now. (SNYDER and the POLICEMAN have been slowly moving toward the BOYS. LES spots them and points.) #5- The Chase LES: Is that the guy you’re meetin’? (JACK looks up and sees SNYDER.) SNYDER: Kelly! JACK: (grabbing LES) Run for it! SNYDER: Officer, grab him! You, Jack Kelly, stop! Kelly! (JACK, DAVEY, and LES leap onto a fire escape ladder and take off. The POLICEMAN and SNYDER try to follow. The BOYS climb over the roof and back down the other side, into the flies of a burlesque house.) SCENE FOUR: Medda’s Theater JACK: Slow down. We lost ‘em. DAVEY: Someone want to tell me why I’m running? I got no one chasing me. Who was that guy? JACK: That was Snyder the Spider. A real sweetie. He runs a jail for underage kids called The Refuge. The more kids he locks up, the more money the city pays him. Problem is, all the money goes straight to his own pocket. Do yourself a favor and stay clear of him and The Refuge. (MEDDA LARKIN, a burlesque star, appears in a revealing costume. The EMCEE and two showgirls, the BOWERY BEAUTIES, get ready for the performance.) MEDDA: Hey, you up there, shoo! No kids allowed in the theater. JACK: Not even me, Miss Medda? MEDDA: (recognizing the intruder) Jack Kelly, man of mystery. Get yourself down here and give me a hug. Where have you been keepin’ yourself, kid? (JACK, DAVEY, and LES come down to the stage.) JACK: Never far from you, Miss Medda. Boys, may I present Miss Medda Larkin: the greatest star on the Bowery today. She also owns the joint. MEDDA: The only thing I own is a mortgage. Pleasure, gents. DAVEY: A pleasure. (DAVEY bows gallantly, but LES just stands wide-eyed, staring at the BOWERY

BEAUTIES. DAVEY smacks him.) What’s wrong with you? LES: Are you blind? She got no clothes on! DAVEY: That’s her costume. LES: But I can see her legs! MEDDA: (to DAVEY) Step out of his way so’s he can get a better look. Theater’s not only entertaining, it’s educational. (posing) Got the picture, kid? JACK: Miss Medda, I got a little situation out on the street. Mind if I hide out here a while? MEDDA: Where better to escape trouble than a theater? Is Snyder after you again? LES: Hey Jack, did you really escape jail on the back of Teddy Roosevelt’s carriage? DAVEY: What would the Governor be doing at a juvenile jail? JACK: So happens he was runnin’ for office and wanted to show he cared about orphans and such. So while he got his mug in the paper, I got my butt in the back seat and we rode together. 13 LES: You really know the Governor? MEDDA: He don’t, but I do! Say, Jack, when you’ve got time, I want you to paint me some more of these backdrops. (Indicates a park scene drop behind her) This last one you did is a doozy. Folks love it. And things have been going so well that I can actually pay. JACK: I couldn’t take your money, Miss Medda. LES: You pictured that? MEDDA: Your friend is quite an artist. JACK: I don’t get carried away. It’s a bunch of trees. DAVEY: You’re really good. MEDDA: That boy’s got natural aptitude. LES: Geez. I never knew no one with a aptitude. (The EMCEE calls to her.) EMCEE: Miss Medda, you’re on! MEDDA: (strikes a pose) Yeah? How’m I doin’? (to the BOYS) Boys, lock the door and stay all night. You’re with Medda now! EMCEE: (announcing MEDDA as she moves toward the stage) Ladies and gentleman, please welcome the star of our show.... Miss Medda Larkin! (MEDDA is captured in a spotlight. The BOYS watch from the wings, completely entranced, while she performs to the crowd of NY CITIZENS.) #6- That’s Rich- Medda MEDDA: I'M DOING ALL RIGHT FOR MYSELF FOLKS: I'M HEALTHY, I'M WEALTHY, I'M WISE. MY INVESTMENTS AND SUCH HAVE ALL GONE UP SO MUCHSEEMS WHATEVER I TOUCH STARTS TO RISE. I’VE BEEN ALL KINDS OF LUCKY AND YET THE THING I WANT MOST...I CAN'T GET. I LIVE IN A MANSION ON LONG ISLAND SOUND. I PULLED UP A WEED, THEY FOUND OIL IN THE GROUND. BUT YOU TELLING ME YOU DON'T WANT ME AROUNDNOW, HONEY, THAT'S RICH. (to audience members) SOME GUYS GIVE ME ERMINE, CHINCHILLA AND MINK AND GIVE ME DIAMONDS AS BIG AS A SINK, BUT YOU WOULDN'T GIVE ME AS MUCH AS A WINKNOW, BABY, THAT'S RICH. I GET BRANDY FROM ANDY AND CANDY FROM SCOTT. OH, AND FRANK AND EDUARDO CHIPPED IN FOR A YACHT. I GET STARES FROM THE FELLAS AND PRAYERS FROM THE POPE, BUT I RAN OUT MY LUCK GETTING STUCK WITH THIS MOPE! MEDDA: (to audience member) Oh, honey, I was just talking about you! (To “Him”) NOW, LISTEN, SPORT, THIS LIFE'S TOO SHORT TO WASTE IT ON YOU. IT MAY BE ROUGH, BUT SOON ENOUGH I'LL LEARN TO MAKE DO….WITH THE MANSION, THE OIL WELL, THE DIAMONDS, THE YACHT, 14 WITH ANDY, EDUARDO, THE PONTIFF AND SCOTT AND FRANK. AND MY BANK! SO SPILL NO TEARS FOR ME, 'CAUSE THERE'S ONE THING YOU AIN'T THAT I'LL ALWAYS BE, AND HONEY, YEAH, THAT'S RIGHT, THAT'S RICH! THAT'S RICH! THAT'S RICH! MEDDA: That’s rich! (MEDDA bows. JACK’s eyes are drawn to a box seat out front where KATHERINE sits watching the show. The set shifts as he crosses the stage and climbs the stairs.) #6A- I Never Planned On You/Don’t Come a-Knocking- Jack, Bowery Beauties MEDDA: And now, gents, let’s have a big hand for the Bowery Beauties! (The BOWERY BEAUTIES begin to dance.) BOWERY BEAUTIES: DON’T COME A-KNOCKING ON MY DOOR JACK: (climbs into the box) Well, hello again. KATHERINE: This is a private box. JACK: (Moving closer) Want I should lock the door? (Moving closer still) Twice in one day. Think it’s fate? KATHERINE: (Dismissive) Go away. I'm working. JACK: A working girl, huh? Doin’ what? KATHERINE: Reviewing the show for the New York Sun. JACK: Hey! I work for the World. KATHERINE: Somewhere out there someone cares. Go tell them. JACK: The view’s better here. KATHERINE: Please go. I am not in the habit of speaking to strangers. JACK:

Then you’re gonna make a lousy reporter. The name’s Jack Kelly. KATHERINE: Is that what it says on your rap sheet? JACK : A smart girl. I admire smart girls. (Admiring KATHERINE) Beautiful. Smart. Independent. KATHERINE: (Getting loud) Do you mind!? MEDDA: (Hollering up to JACK and KATHERINE) You got in for free. At least pay attention. JACK: Sorry Medda. (KATHERINE returns to watching the show, but JACK only has eyes for her. He takes a piece of newsprint ad a pencil in his pocket and begins to sketch of portrait of her. The image of the drawing appears in projections behind them.) JACK: I GOT NO USE FOR MOONLIGHT OR SAPPY POETRY. LOVE AT FIRST SIGHT'S FOR SUCKERS, AT LEAST IT USED TO BE. LOOK, GIRLS ARE NICE, ONCE OR TWICE, TILL I FIND SOMEONE NEW, BUT I NEVER PLANNED ON SOMEONE LIKE YOU. (Sings simultaneously with the Bowery Beauties) I GOT NO USE FOR MOONLIGHT OR SAPPY POETRY. LOVE AT FIRST SIGHT'S FOR SUCKERS, AT LEAST IT USED TO BE. JACK: NO, I NEVER PLANNED ON NO ONE LIKE YOU. BOWERY BEAUTIES: DON'T COME A KNOCKING ON MY DOOR. 15 YOU AREN'T WELCOME HERE NO MORE. I SHOULD HAVE KNOWN YOU STUNK LIKE YESTERDAY'S TRASH THE NIGHT YOU STOLE MY HEART PLUS FORTY DOLLARS IN CASH. TURNS OUT MY BEAU IS JUST SOME BUM. TURNS OUT THAT LOVE AIN'T BLIND, IT'S DUMB. YOU NEVER TOLD THE TRUTH OR WORKED A DAY IN YOUR LIFE. IN FACT, YOU'RE SO REVOLTIN', I FEEL BAD FOR YOUR WIFE. KATHERINE: What are you doing? JACK: Quiet down. There's a show going on. KATHERINE: You are the most impossible boyJACK: Shhh! KATHERINE: Ever. BOWERY BEAUTIES: I WON'T BE SHAVING YOUR BACK ANYMORE, NO, SENOR. JACK: NO, I NEVER PLANNED ON NO ONE LIKE YOU. BOWERY BEAUTIES: DON'T COME A-KNOCKING ON MY DOOR! BOWERY BEAUTIES: DON'T COME A-KNOCKING ON MY DOOR! BOWERY BEAUTIES: DON'T COME A-KNOCKING ON MY DOOR! (JACK places the newsprint on the empty chair as he exits. KATHERINE looks at it and sees the portrait of herself, beautifully rendered. We can almost see her blush.) #6B- To the Distribution Window SCENE FIVE: Newsie Square, Next Morning (A few NEWSIES convene outside the distribution window of the World as the circulation bell tolls.) SPLASHER: Them fire sirens kept me awake all night. MUSH: Sirens is like lullabies to me. The louder they wail the better the headline. And the better the headline, the better I eat. And the better I eat... SPLASHER: (cutting MUSH off) ...the further away from you I sleep! (LES and DAVEY arrive.) DAVEY: ‘Morning, everybody. Sorry we’re late. GUM GUM: You didn’t miss nothin’ yet. NEWBY: What made your mornin’ excitin’ this early? DAVEY: We had to help our mom with something. RACE: They gotta mudder? I was gonna get me one. ROMEO: What’d you do with the one you had? BUTTONS: He traded her for a box of cigars. RACE: They was Coronas! LES: We have a father too. BUTTONS: A mudder and a fodder. RACE: Ain’t we the hoi polloi? LES: So, how’s it going today? TOMMY BOY: Ask me after they put up the headline. (LES looks up to read it.) CHICKLET: Here it comes now. 16 ALBERT: (reading) “New Newsie Price: Sixty Cents Per Hundred.” MUSH: What’d you say? (The NEWSIES begin to take notice.) DAVEY: Is that news? MIKE: It is to me. ALBERT: They jacked up the price of papes. RACKET: Ten cents more a hundred! ELMER: I can eat two days on a dime. CRUTCHIE: I’ll be sleepin’ on the street. JO JO: You already sleep on the street. CRUTCHIE: In a worse neighborhood. (JACK arrives.) SALAMI: Wait’ll Jack hear’s about this. IKE: He’s gonna lose it. CRISS-CROSS: Here he comes now! KNUCKLES: Jack, check this out. JACK: What’re you all standin’ around for? CRUTCHIE: Get a load of this, Jack. ROMEO: Like Pulitzer don’t make enough already? CHICKLET: The rich gotta get richer…. CURLY: While we all gotta starve ta death. (WIESEL opens his window for business. He stares at the NEWSIES with a malevolent smile.) WIESEL: Papes for the Newsies. JACK: Relax. It’s gotta be a gag. WIESEL: Line up, boys. (JACK goes up to the window and slaps his money down.)

JACK: Good joke, Weasel. Really got the fellas goin’. I’ll take a hundred and be on my way. WIESEL: A hundred’ll cost ya sixty. JACK: I ain’t payin’ no sixty— WIESEL: Then make way for someone who will. (SPECS and a few more NEWSIES arrive.) JACK: You bet! Me and the fellas will take a hike over to The Journal. NEWSIES: YEAH!!! SPECS: I’ll save you the walk. They upped their price too. JACK: Then we’ll take our business to the Sun! WIESEL: It’s the same price all around town. New day. New price. BUDDY: Why the jack-up? WIESEL: For them kind’a answers you gotta ask a little further up the food chain. So, you buyin’ or movin’ on? JACK: C’mere fellas. (The NEWSIES huddle together as a gang.) FINCH: They can’t just do that, can they? RACE: Why not? It’s their paper. CRUTCHIE: It’s their world. HENRY: Ain’t we got no rights? CRUTCHIE: We got the right to starve. C’mon, let’s get our papes and hit the streets while we still can. HENRY: At them prices? CRUTCHIE: We got a choice? PICKLES: If it’s the same everywhere, then I don’t see another option. 17 JACK: Hold on. Nobody’s payin’ no new nothin’. TOMMY BOY: You got a idea? SCRUB: What is it Jack? JACK: Keep your shirt on. Lemme think this through. BUTTONS: What’s your angle? (LES pushes the other boys away.) SPLASHER: Let’s hear the idea, Jack! LES: Stop crowdin’ him. Let the man work it out. (The NEWSIES back up and watch JACK think.) Hey, Jack, you still thinkin’? RACE: Sure he is. Can’t you smell smoke? DUCKY: I don’t get it. JACK: All right, here’s the deal: if we don’t sell papes, then no one sells papes. Nobody gets to that window till they put the price back where it belongs. DAVEY: You mean like a strike? JACK: You heard Davey. We’re on strike. DAVEY: Hold on. I didn’t say— JACK: We shut down this place like them workers shut down the trolleys. FINCH: And the cops will bust our heads! TOMMY BOY: Half them strikers is laid up with broke bones. JACK: Cops ain’t gonna care about a bunch of kids. Right, Davey? DAVEY: Leave me out of this. I’m just trying to feed my family. JACK: And the rest of us is on playtime? Just because we only make pennies don’t give nobody the right to rub our noses in it. DAVEY: It doesn’t matter. You can’t strike. You’re not a union. JACK: And what if I says we is? DAVEY: There’s a lot of stuff you gotta have in order to be a union. RACKET: Like what? DAVEY: Like membership. JACK: What do you call these guys? DAVEY: And officers. CRUTCHIE: I nominate Jack President! (The NEWSIES cheer their approval.) JACK: Gee, I’m touched. DAVEY: How about a statement of purpose? JACK: Must’a left it in my other pants. RACE: What’s a statement of purpose? DAVEY: A reason for forming the union. JACK: What reason did the trolley workers have? DAVEY: I don’t know. Wages? Work hours? Safety on the job? JACK: Who don’t need that? Bet if your father had a union you wouldn’t be out here sellin’ papes right now. Yeah? DAVEY: Yeah. JACK: So, our union is hereby formed to watch each other’s backs. “Union’d we stand.” Hey, that’s not bad. Somebody write that down. LES: I got a pencil. JACK: Meet our Secretary of State. Now what? 18 DAVEY: If you want to strike, the membership’s gotta vote. JACK: So let’s vote. What do you say, fellas? The choice is yours. Do we roll over and let Pulitzer pick our pockets, or do we strike? NEWSIES: Strike!!!!!! #7- The World Will Know- Jack, Davey, Les, Crutchie, Newsies JACK: You heard the voice of the membership. The Newsies of Lower Manhattan are now officially on strike. What next? CRUTCHIE: Wouldn’t a strike be more effective if someone in charge knew about it? RACE: It would be a pleasure to tell Weasel myself. JACK: Yeah? And who tells Pulitzer? Davey? DAVEY: I don’t know… I guess… (giving in) You do, Mr. President. JACK: That’s right, we do! (To DAVEY, a bit hushed.) What do we tell ‘em? DAVEY: The newspaper owners need to respect your rights as employees. JACK: (Loudly to the group.) Pulitzer and Hearst gotta respect the rights of the workin’ kids of this city. DAVEY:

They can’t just change the rules when they feel like it. JACK: That’s right. We do the work, so we get a say. DAVEY: (finally committing) We’ve got a union. NEWSIES: Yeah! JACK: PULITZER AND HEARST, THEY THINK WE'RE NOTHING'. ARE WE NOTHIN'? NEWSIES: NO! DAVEY: They need to understand that we’re not enslaved to them. We’re free agents. JACK: PULITZER AND HEARST, THEY THINK THEY GOT US. DO THEY GOT US? NEWSIES: NO! DAVEY: We’re a union now – the Newsboys’ Union – and we mean business. JACK: EVEN THOUGH WE AIN'T GOT HATS OR BADGES, WE'RE A UNION JUST BY SAYING SO. AND THE WORLD WILL KNOW. FINCH: What’s to stop some other kids comin’ along to sell our papes? ALBERT: Just let ‘em try! DAVEY: No! We can’t beat up on the other kids. We’re all in this together. JACK: (ignoring DAVEY) WHAT'S IT GONNA TAKE TO STOP THE WAGONS? ARE WE READY? NEWSIES: YEAH! JACK: WHAT'S IT GONNA TAKE TO STOP THE SCABBERS? CAN WE DO IT? NEWSIES: YEAH! JACK: WE'LL DO WHAT WE GOTTA DO UNTIL WE BREAK THE WILL OF MIGHTY BILL AND JOE. NEWSIES: AND THE WORLD WILL KNOW. AND THE JOURNAL TOO. JACK & DAVEY: MISTER HEARST AND PULITZER, HAVE WE GOT NEWS FOR YOU. NEWSIES: SEE, THE WORLD DON'T KNOW, BUT THEY'RE GONNA PAY. JACK & DAVEY: 'STEAD OF HAWKIN' HEADLINES WE'LL BE MAKIN' 'EM TODAY. NEWSIES: AND OUR RANKS WILL GROW, CRUTCHIE: AND WE'LL KICK THEIR REAR! NEWSIES: YEAH! AND THE WORLD WILL KNOW THAT WE BEEN HERE. JACK: WHEN THE CIRCULATION BELL STARTS RINGING, WILL WE HEAR IT? NEWSIES: NO! 19 JACK: WHAT IF THE DELANCEY'S COME OUT SWINGING? WILL WE HEAR IT? NEWSIES: NO! WHEN YA GOT A HUNDRED VOICES SINGING, WHO CAN HEAR A LOUSY WHISTLE BLOW?AND THE WORLD WILL KNOW THAT THIS AIN'T NO GAME, THAT WE GOT A TON OF ROTTEN FRUIT AND PERFECT AIM. SO THEY GAVE THEIR WORD. WELL, IT AIN'T WORTH BEANS. NOW THEY'RE GONNA SEE WHAT "STOP THE PRESSES" REALLY MEANS. AND THE OLD WILL WEEP, AND GO BACK TO SLEEP. AND WE GOT NO CHOICE BUT TO SEE IT THROUGH, RACE: AND WE FOUND OUR VOICE, SPECS: AND I LOST MY SHOE! NEWSIES: AND THE WORLD WILL- (The scene transitions to the gate. JACK climbs up to the chalkboard and writes down “STRIKE” over the other headlines.) NEWSIES: Yeah!! JACK: PULITZER MAY OWN THE WORLD BUT HE DON'T OWN US! NEWSIES: PULITZER MAY OWN THE WORLD BUT HE DON'T OWN US! JACK: PULITZER MAY CRACK THE WHIP BUT HE WON'T WHIP US! NEWSIES: PULTIZER MAY CRACK THE WHIP BUT HE WON'T WHIP US! AND THE WORLD WILL KNOW WE BEEN KEEPIN' SCORE. EITHER THEY GIVES US OUR RIGHTS OR WE GIVES THEM A WAR. WE BEEN DOWN TOO LONG, AND WE PAID OUR DUES. (The NEWSIES make their way to the front door of the World.) CRUTCHIE: AND THE THINGS WE DO TODAY WILL BE TOMORROW'S NEWS. NEWSIES: AND THE DIE IS CAST, AND THE TORCH IS PASSED. NEWSIES GROUP 1: AND A ROAR WILL RISE… NEWSIES GROUP 2: …FROM THE STREETS BELOW, NEWSIES GROUP 1: AND OUR RANKS WILL GROW… NEWSIES GROUP 2: …AND GROW NEWSIES GROUP 1: AND GROW NEWSIES: AND SO THE WORLD WILL FEEL THE FIRE AND FINALLY KNOW! (The NEWSIES open the doors. JACK, DAVEY, and LES enter and the doors close behind them. The NEWSIES wait in anticipation. Then the doors fly open and a GUARD throws JACK, DAVEY, and LES out.) GUARD: And stay out! LES: (yelling back) You can tell Pulitzer that a few days into this strike, he’s gonna be beggin’ for an appointment to see me! You got that? (Doors Slam.) He got it. NEWSIES: PULITZER MAY OWN THE WORLD BUT HE DON'T OWN US! JACK: PULITZER MAY OWN THE WORLD BUT HE DON'T OWN US! NEWSIES: PULITZER MAY CRACK THE WHIP BUT HE WON'T WHIP US! JACK: PULITZER MAY CRACK THE WHIP BUT HE WON'T WHIP US! NEWSIES: SO THE WORLD SAYS "NO!" WELL THE KIDS DO TOO! TRY TO WALK ALL OVER US, WE'LL STOMP ALL OVER YOU! CRUTCHIE: CAN THEY KICK US OUT? TAKE AWAY OUR VOTE? 20 NEWSIES: WILL WE LET 'EM STUFF THIS CROCK OF GARBAGE DOWN OUR THROAT? NO! EVERYDAY WE WAIT IS A DAY WE LOSE! NEWSIES GROUP 1: AND THIS AIN'T FOR FUN! NEWSIES GROUP 2: AND IT AIN'T FOR SHOW! NEWSIES GROUP 1: AND WE'LL FIGHT 'EM TOE NEWSIES GROUP 2: TO TOE NEWSIES GROUP 1: TO TOE! NEWSIES: AND JOE, YOUR WORLD WILL FEEL THE FIRE AND FINALLY, FINALLY KNOW!

SCENE SIX: Jacobi’s Deli & Street, Afternoon (The NEWSIES settle in at their favorite hangout. The proprietor, MS. JACOBI, arrives with a tray of glasses, which he proceeds to hand out.) MS. JACOBI: And here we go... a glass of water for you. And one for you. And one for you. And you. And, ah, who’s the big spender what ordered the seltzer? ALBERT: Over here. MS. JACOBI: And that’ll be two cents. ALBERT: Two cents for a glass of seltzer? Just gimme water. MS. JACOBI: (switching out glasses) How did I ever see that coming? SWISH: Could I get a water too? PEPPER: Oh! Me too! NEWBY: Me too! GUM GUM: Over here as well! MIKE: Just bring another round of waters please. MS. JACOBI: Yeesh. Let me do the dishes to get a few more glasses clean first. (She exits.) DAVEY: (toasting) I’d say we launched our strike in a most auspicious manner. (The NEWSIES try to figure out what DAVEY said.) MUSH: I don’t know about that, but we sure scared the bejeebers outta Weasel! CRUTCHIE: Did you see the Delanceys? PICKLES: They didn’t know which way was up. JACK: (to DAVEY) So, what’s next? DAVEY: Now you have to spread the word. Let the rest of the city’s Newsies know about the strike. JACK: You heard the man. Let’s split up and spread the word. MUSH: I’ll take Harlem. RACE: I got midtown. JO JO: I got the Bronx. BUTTONS: And I got the Bowery. JACK: Specs, you take Queens. Tommy Boy, you take the Eastside. And who wants Brooklyn? (The NEWSIES cringe and look away.) C’mon. Brooklyn. Spot Conlon’s turf. Finch, you tellin’ me you’re scared of Brooklyn? FINCH: I ain’t scared of no turf. But that Spot Conlon got me a little jittery. JACK: Fine. Me and Davey will take Brooklyn. DAVEY: (still struggling) Me? I have to...(KATHERINE enters) KATHERINE: Why’s everyone so scared of Brooklyn? JACK: (smiling) What’re you doin’ here? 21 KATHERINE: Asking a question. Have you got an answer? JACK: Brooklyn is the sixth largest city in the entire world. You got Brooklyn, you hit the mother load. (sidling up to KATHERINE) For someone who works for the New York Sun, you spend an awful lot of time hanging around at the World. So, what’s that about? You followin’ me? KATHERINE: The only thing I’m following is a story. A rag-tag gang of ragamuffins wants to take on the kingmakers of New York. Think you have a chance? JACK: Shouldn’t you be at the ballet? KATHERINE: Question too difficult? I’ll rephrase: will the richest and most powerful men in New York give the time of day to a gang of kids who haven’t got a nickel to their name? CRUCHIE: You don’t gotta be insultin’. I got a nickel. KATHERINE: So I guess you’d say you’re a couple of Davids looking to take on Goliath? DAVEY: We never said that. KATHERINE: You didn’t have to. I did. JACK: I seen a lot of papers in my time and I ain’t never noted no girl reporters writing hard news. KATHERINE: Wake up to the new century. The game’s changing. How about an exclusive interview? JACK: Ain’t your beat entertainment? KATHERINE: This is entertaining... so far. JACK: What’s the last news story you wrote? KATHERINE: What’s the last strike you organized? ROMEO: (pushing his way in) You’re out of your league, Kelly. Methinks the lady needs to handled by a real man. KATHERINE: (waving him off) You thinks wrong, Romeo. ROMEO: How’d she know my name? DAVEY: (to JACK) I say we save any exclusive for a real reporter. KATHERINE: (Almost angry) You see somebody else giving you the time of day? (desperate) Alright, so I’m just busting out of the social pages. But you give me the exclusive, let me run with the story, and I promise you I’ll get you the space. CRUTCHIE: You think we could be in the papes? KATHERINE: Shut down a paper like the World and you’re going to make the front page. JACK: You want a story? Be in front of the circulation gate tomorrow morning and you’ll get one. And bring a camera. You’re gonna wanna snap a picture of dis. (MS. JACOBI comes to shoo the NEWSIES out.) MS. JACOBI: Let’s go, boys, play outside. I gotta set up for dinner. I got payin’ customers need tables. #8-

The World Will Know (Reprise)- Jack, Davey, Les, Newsies FINCH: C’mon. We got Newsies to visit. RACE: You won’t be shooin’ us off when we gets our mugs in the papes! (The NEWSIES exit the deli and head to the street.) NEWSIES: AND THE WORLD WILL KNOW, WE BEEN KEEPIN' SCORE. EITHER THEY GIVES US OUR RIGHTS OR WE GIVES THEM A WAR. WE BEEN DOWN TOO LONG, AND WE PAID OUR DUES. AND THE THINGS WE DO TODAY WILL BE TOMORROW'S NEWS. AND THE DIE IS CAST, AND THE TORCH IS PASSED. NEWSIES GROUP 1: AND A ROAR WILL RISE… 22 NEWSIES GROUP 2: …FROM THE STREETS BELOW, NEWSIES GROUP 1: AND OUR RANKS WILL GROW… NEWSIES GROUP 2: …AND GROW NEWSIES GROUP 1: AND GROW NEWSIES: AND SO THE WORLD WILL FEEL THE FIRE AND FINALLY KNOW! DAVEY: Come on, Les. The folks are waiting. (The Newsies disperse as DAVEY and LES head home. JACK lingers behind with KATHERINE.) KATHERINE: So, what’s your story? Are you selling newspapers to work your way through art school? JACK: Art school? Are you kiddin’ me? (KATHERINE holds up the drawing that JACK did of her.) KATHERINE: But you’re an artist. You’ve got real talent. You should be inside the paper illustrating, not outside hawking it. JACK: Maybe that ain’t what I want. KATHERINE: So tell me what you want. JACK: (shamelessly flirting) Can’t you see it in my eyes? KATHERINE: Have you always been their leader? JACK: I’m a blowhard. Davey’s the brains. KATHERINE: Modesty is not a quality I would have pinned on you. JACK: You got a name? KATHERINE: Katherine... Plumber. JACK: What’s the matter? Ain’t ya sure? KATHERINE: It’s my byline, the name I publish under. Tell me about tomorrow. What are you hoping for? JACK: I’d rather tell you what I’m hoping for tonight. KATHERINE: Mr. Kelly.... JACK: Today we stopped our Newsies from carrying out papes, but the wagons still delivered to the rest of the city. Tomorrow, we stop the wagons. KATHERINE: Are you scared? JACK: Do I look scared? But ask me again in the morning. KATHERINE: (writes down the quite and starts to exit) Good answer. Good night, Mr. Kelly. JACK: Come on, where you runnin’? It ain’t even supper time! #9- Watch What Happens- Katherine KATHERINE: I’ll see you in the morning. And, off the record, good luck. JACK: Hey, Plumber. Write it good. We both got a lot ridin’ on you. (JACK walks off as KATHERINE heads to her office.) SCENE SEVEN: Katherine’s Office (KATHERINE sits down at her desk and begins to write her article) KATHERINE: You heard the man, “Write it good.” Write it good, or it’s back to wheezing your way through the flower show. No pressure. Let’s go. (typing) “Newsies Stop the World.” A little hyperbole never hurt anyone. (typing again) “With all eyes fixed on the trolley strike, there’s another battle brewing in the city...” (pulls paper out of the typewriter and rips it up) ...and if I could just write about it... (puts a fresh piece of paper in the typewriter) Come on, Katherine, the boys are counting on you. Oh, you poor boys.... 23 "WRITE WHAT YOU KNOW" SO THEY SAY, ALL I KNOW IS I DON'T KNOW WHAT TO WRITE OR THE RIGHT WAY TO WRITE IT THIS IS BIG, LADY, DON'T SCREW IT UP THIS IS NOT SOME LITTLE VAUDEVILLE I'M REVIEWING POOR LITTLE KIDS VERSUS RICH GREEDY SOUR PUSSES HA! IT'S A CINCH! IT COULD PRACTICALLY WRITE ITSELF AND LET'S PRAY IT DOES, CAUSE AS I MAY HAVE MENTIONED I HAVE NO CLUE WHAT I'M DOING AM I INSANE? THIS IS WHAT I'VE BEEN WAITING FOR WELL THAT, PLUS THE SCREAMING OF TEN ANGRY EDITORS “A GIRL?” “THAT’S A GIRL! HOW THE HECK?” “IS THAT EVEN LEGAL?” “LOOK, JUST GO AND GET HER!” NOT ONLY THAT, THERE'S A STORY BEHIND THE STORY THOUSANDS OF CHILDREN, EXPLOITED, INVISIBLE SPEAK UP, TAKE A STAND, AND THERE'S SOMEONE TO WRITE ABOUT IT THAT'S HOW THINGS GET BETTER GIVE LIFE'S LITTLE GUYS SOME INK, AND WHEN IT DRIES JUST WATCH WHAT HAPPENS THOSE KIDS WILL LIVE AND BREATHE RIGHT ON THE PAGE AND ONCE THEY'RE CENTER STAGE, YOU WATCH WHAT HAPPENS AND WHO'S THERE WITH HER CAMERA AND HER PEN AS BOYS TURN INTO MEN THEY'LL STORM THE GATES AND THEN JUST WATCH WHAT HAPPENS WHEN THEY DO! KATHERINE: (reads aloud what she’s written)

“A modern day David is poised to take on the rich and powerful Goliath. With the swagger of one twice his age, armed with nothing more than a few nuggets of truth, Jack Kelly stands ready to face the behemoth Pulitzer.” Now that’s how you turn a boy into a legend! PICTURE A HANDSOME, HEROICALLY CHARISMATIC PLAIN SPOKEN, KNOW NOTHING, SKIRT-CHASING, COCKY LITTLE SON OF A LIE DOWN WITH DOGS AND YOU WAKE UP WITH A RAISE AND A PROMOTION SO, HE'S A FLIRT, A COMPLETE EGO MANIAC THE FACT IS HE'S ALSO THE FACE OF THE STRIKE WHAT A FACE, FACE THE FACTS, THAT'S A FACE THAT COULD SAVE US ALL FROM SINKING IN THE OCEAN LIKE SOMEONE SAID, "POWER TENDS TO CORRUPT" AND ABSOLUTE POWER, WAIT! WAIT, CORRUPTS!? ABSOLUTELY, THAT IS GENIUS! BUT GIVE ME SOME TIME, I'LL BE TWICE AS GOOD AS THAT SIX MONTHS FROM NEVER JUST LOOK AROUND AT THE WORLD WE'RE INHERITING AND THINK OF THE ONE WE'LL CREATE THEIR MISTAKE IS THEY GOT OLD, THAT IS NOT A MISTAKE WE'LL BE MAKING NO SIR, WE'LL STAY YOUNG FOREVER! GIVE THOSE KIDS AND ME THE BRAND NEW CENTURY AND WATCH WHAT HAPPENS IT'S DAVID AND GOLIATH, DO OR DIE THE FIGHT IS ON AND I CAN'T WATCH WHAT HAPPENS 24 BUT ALL I KNOW IS NOTHING HAPPENS IF YOU JUST GIVE IN IT CAN'T BE ANY WORSE THAN HOW IT'S BEEN AND IT JUST SO HAPPENS THAT WE JUST MIGHT WIN SO WHATEVER HAPPENS! LET'S BEGIN! (Blackout.) #9A- Watch What Happens (Playoff) SCENE EIGHT: Newsie Square, Next Morning (JACK and the other NEWSIES nervously begin to assemble. As DAVEY and LES arrive, DAVEY pulls JACK aside.) DAVEY: Is anyone else coming? JACK: Don’t got a clue. RACE: Youse seen Spot Conlon, right? What’d he say? JACK: Sure we seen him. DAVEY: Him and about twenty of his gang. LES: And them Brooklyn boys is big. JACK: And I gotta say, Spot was very impressed. Wasn’t he? DAVEY: I’d say. RACE: So they’re with us? DAVEY: That all depends on how you look at it. If you look and see Brooklyn, then they’re with us. JACK: They wanted proof we’re not gonna fold at the first sign of trouble. FINCH: Are we? JACK: We are not! There’s us and Harlem— MUSH: Not so fast, boss. Harlem wants to know what Brooklyn’s gonna do. JACK: How about Queens? SPECS: Queens will be right here backing us up— JACK: Ya see! SPECS: ... as soon as they get the nod from Brooklyn. RACE: I got the same fish-eye in midtown. (The DELANCEYS walk by on their way to work.) MORRIS: Say, Oscar, looks like we got bum information about a strike happenin’ here today. Not that I’m complainin’. My skull bustin’ arm could use a day of rest. (The DELANCYES move on.) LES: Are we doing the right thing? DAVEY: Sure we are. RACE: Maybe we put this off a couple a days? DAVEY: No. We can’t... (desperately to JACK) Say something. Tell them if we back off now they will never listen to us again. #10- Seize The Day- Davey, Jack, Les, Newsies JACK: (to the NEWSIES) We can’t back down now. No matter who does or doesn’t show. Like it or not, now is when we take a stand. FINCH: How’s about we just don’t show for work? That’ll send a message. 25 JACK: They’ll just replace us. They need us to stand our ground. (turns to DAVEY) C’mon, Davey. Tell ‘em. DAVEY: (on the spot, timidly begins a pep talk) NOW IS THE TIME TO SEIZE THE DAY. STARE DOWN THE ODDS AND SEIZE THE DAY. MINUTE BY MINUTE, THAT'S HOW YOU WIN IT. WE WILL FIND A WAY. BUT LET US SEIZE THE DAY. (CRUTCHIE arrives with a rag painted “STRIKE!” hanging from his crutch.) CRUTCHIE: Hey Jack. Look what I made! Good, huh? Strike! RACE: (To Crutchie) That’s great. (To Davey) That’s pitiful. LES: Don’t be so quick to judge. Maybe Pulitzer will it out his window and feel sorry for us. JACK: (call up to chalkboard platform) Hey Specs, any sign of reinforcements? (thumbs down) Davey…? DAVEY: COURAGE CANNOT ERASE OUR FEAR. COURAGE IS WHEN WE FACE OUR FEAR. TELL THOSE WITH POWER, SAFE IN THEIR TOWER, WE WILL NOT OBEY (DAVEY steps up next to JACK as the scene shifts to the distribution window.) DAVEY & JACK: BEHOLD THE BRAVE BATTALION THAT STANDS SIDE BY SIDE, TOO FEW IN NUMBER AND TOO PROUD TO HIDE. THEN SAY TO THE OTHERS WHO DID NOT FOLLOW THROUGH,

"YOU'RE STILL OUR BROTHERS, AND WE WILL FIGHT FOR YOU." (The circulation bell rings. The NEWSIES ignore it.) DAVEY, RACE, JACK & CRUTCHIE: NOW IS THE TIME TO SEIZE THE DAY. STARE DOWN THE ODDS AND SEIZE THE DAY. (Other NEWSIES gradually join in until all are singing.) NEWSIES: ONCE WE'VE BEGUN, IF WE STAND AS ONE, SOMEDAY BECOMES SOMEHOW, AND THE PRAYER BECOMES A VOW, JACK: AND THE STRIKE STARTS HERE AND NOW! (The circulation bell rings again. WIESEL pushes his window open.) WIESEL: The sun is up and the birds is singin’. A beautiful day to crack some heads, ain’t it? Step right up and get your papes. MORRIS: (stepping forward) You workin’ or trespassin’? What’s your pleasure? (EVERYONE tenses. Three SCABS walk on and head toward the circulation window to collect their papers.) DAVEY: Who are they? JACK: Scabs. What do you think? FINCH: If they think they can just waltz in here and take our jobs – CRUTCHIE: We can handle them! (The NEWSIES move menacingly forward as the SCABS collect their papers from the distribution window.) ROMEO: Let’s soak ‘em boys! FINCH: Yeah! Let’s get ‘em! DAVEY: No! We all stand together or we don’t have a chance! (calling for help) Jack! JACK: All right. I know. I hear ya. (Looks to his NEWSIES, then addresses the SCABS.) Listen, fellas… I know somebody put youse up to this. Probably paid ya some extra money too. Yeah? Well, it ain’t right. Pulitzer thinks we’re gutter rats with no respect for nothin’, includin’ each other. Is that who we are? Well, we stab each other in the back and, yeah, that’s who we are. But if we stand together, we change the whole game. 26 And it ain’t just about us. All across this city there are boys and girls who ought to be out playin’ or going to school. Instead they’re slavin’ to support themselves and their folks. Ain’t no crime to bein’ poor, and not a one of us complains if the work we do is hard. All we ask is a square deal. Fellas… for the sake of all the kids in every sweatshop, factory and slaughterhouse in this town, I beg you… throw down your papers and join the strike. LES: Please? SCAB 1: (The SCABS look at each other, and the first steps forward) I’m with ya. (The first SCAB throws down his papers. The NEWSIES surround the two remaining SCABS.) DAVEY: NOW IS THE TIME TO SEIZE THE DAY! NEWSIES: NOW IS THE TIME TO SEIZE THE DAY! DAVEY: ANSWER THE CALL AND DON'T DELAY! NEWSIES: ANSWER THE CALL AND DON'T DELAY! WRONGS WILL BE RIGHTED IF WE'RE UNITED! LET US SEIZE THE DAY! (The second SCAB throws down his papers and joins the NEWSIES. MORRIS DELANCY reaches for the bundle, but JACK stops him.) SCAB 3: You’re kidding, right? SCAB 2: At the end of the day, who are you gonna trust? (to DELANCEYS) Them… (to NEWSIES) or them? (The second SCAB throws his satchel back at WIESEL as the NEWSIES surround SCAB 3.) JACK: NOW LET 'EM HEAR IT LOUD AND CLEAR! NEWSIES: NOW LET 'EM HEAR IT LOUD AND CLEAR! JACK: LIKE IT OR NOT, WE'RE DRAWING NEAR! NEWSIES: LIKE IT OR NOT, WE'RE DRAWING NEAR! PROUD AND DEFIANT, WE'LL SLAY THE GIANT! JUDGMENT DAY IS HERE! (The third SCAB throws down his papers.) SCAB 3: Oh… who cares? Me father’s gonna kill me anyway! (The NEWSIES cheer.) NEWSIES: HOUSTON TO HARLEM, LOOK WHAT'S BEGUN! ONE FOR ALL AND ALL FOR ONE! STRIKE, STRIKE, STRIKE, STRIKE, STRIKE, STRIKE, STRIKE, STRIKE, STRIKE, STRIKE, OH….. STRIKE! (JACK leads the NEWSIES in a triumphant dance. The DELANCEYS break in, punch DAVEY and JACK, and grab LES. The rest of the NEWSIES save LES, chase them off, and celebrate.) NEWSIES: NOW IS THE TIME TO SEIZE THE DAY! THEY'RE GONNA SEE THEY’LL HAVE TO PAY! NOTHING CAN BREAK US NO ONE CAN MAKE US QUIT BEFORE WE'RE DONE! ONE FOR ALL AND ALL FOR ONE FOR ALL AND ALL FOR ONE FOR ALL AND ALL FOR ONE! (KATHERINE arrives with her PHOTOGRAPHER, who shoots a triumphant photo of JACK, DAVEY, LES, and the NEWSIES. The ecstatic NEWSIES toss newspapers all over the square.) #10A- Seize The Day (Tag)- Newsies 27 NEWSIES: NEWSIES FOREVER! SECOND TO NONE! ONE FOR ALL AND ALL FOR… ONE FOR ALL AND ALL FOR…

(The gates swing open to reveal WIESEL, the DELANCEYS, and several GOONS. The NEWSIES stop dead in their tracks. – then a fight ensues.) #11- The Fight WIESEL: Time these kids learned a lesson. (The MEN advance.) JACK: Newsies! Get ‘em! (The NEWSIES run to the wagons and toss bundles of papers at the MEN. The MEN surge forward and the fight is more or less even. Suddenly a POLICEMEN appears and blows his whistle. ROMEO runs excitedly to him.) ROMEO: It’s about time you showed up. They’re slaughtering us— (The POLICEMAN smacks ROMEO to the ground. SNYDER appears.) JACK: Cheese it, fellas! It’s the bulls! (As more POLICEMEN arrive, many NEWSIES take flight. Some are hit, others are snatched up and taken away. The NEWSIES are helpless against the MEN. SNYDER appears.) SYNDER: You can’t run forever, Kelly! (JACK sees SNYDER and starts to make his escape.) CRUTCHIE: Jack? Wait for me! (JACK reaches back for CRUTCHIE, but he is grabbed by OSCAR and MORRIS DELANCEY. JACK continues to run.) OSCAR: (to CRUTCHIE) Where ya think you’re goin’? CRUTCHIE: Jack! Help! Romeo! Albert! Finch! MORRIS: Shut it, Crip. (MORRIS punches CRUTCHIE, knocking him to the ground. SNYDER beats him with his crutch and slaps on handcuffs.) SNYDER: It’s off to The Refuge with you, little man. (to the POLICEMAN) Take him away. (JACK watches as the POLICEMAN drags CRUTCHIE off.) JACK: Crutchie! SNYDER: Jack Kelly! (JACK ducks out of the square and runs to the safety of his rooftop.) SCENE NINE: Rooftop (Papers flutter down on the emptying square under a haunting moon. Lost in the wreckage of the failed protest below, JACK paces, desolate.) #12- Santa Fe- Jack JACK: FOLKS, WE FINALLY GOT OUR HEADLINE "NEWSIES CRUSHED AS BULLS ATTACK" CRUTCHIE'S CALLING ME POOR CRIP'S JUST MOVES TOO SLOW GUYS ARE FIGHTIN', BLEEDIN', FALLIN' THANKS TO GOOD OLE' CAPTAIN JACK CAPTAIN JACK JUST WANTS TO CLOSE HIS EYES AND GO! LET ME GO FAR AWAY SOMEWHERE THEY WON'T EVER FIND ME AND TOMORROW WON’T REMIND ME OF TODAY AND THE CITY’S FINALLY SLEEPIN’ AND THE MOON LOOKS OLD AND GREY 28 I GET ON A TRAIN THAT’S BOUND FOR SANTA FE AND I’M GONEAND I’M DONE NO MORE RUNNING. NO MORE LYING NO MORE FAT OLD MAN DENYING ME MY PAY JUST A MOON SO BIG AND YELLOW, IT TURNS NIGHT RIGHT INTO DAY DREAMS COME TRUE. YEAH THEY DO. IN SANTA FE WHERE DOES IT SAY YOU GOTTA LIVE AND DIE HERE? WHERE DOES IT SAY A GUY CAN’T CATCH A BREAK? WHY SHOULD YOU ONLY TAKE WHAT YOU’RE GIVEN? WHY SHOULD YOU SPEND YOUR WHOLE LIFE LIVING TRAPPED WHERE THERE AIN’T NO FUTURE EVEN AT 17! BREAKING YOUR BACK FOR SOMEONE ELSE’S SAKE! IF THE LIFE DON’T SEEM TO SUIT YOU, HOW ABOUT A CHANGE OF SCENE? FAR FROM THE LOUSY HEADLINES, AND THE DEADLINES IN BETWEEN SANTA FE, MY OLD FRIEND I CAN’T SPEND MY WHOLE LIFE DREAMING THOUGH I KNOW THAT’S ALL I SEEM INCLINED TO DO I AIN’T GETTING ANY YOUNGER AND I WANNA START BRAND NEW I NEED SPACE. AND FRESH AIR LET ‘EM LAUGH IN MY FACE. I DON’T CARE SAVE MY PLACE, I’LL BE THERE JUST BE REAL IS ALL I’M ASKING NOT SOME PAINTING IN MY HEAD CAUSE I’M DEAD IF I CAN’T COUNT ON YOU TODAY I GOT NOTHING IF I AIN’T GOT SANTA FE! (End of Act One.) 29 ACT TWO SCENE ONE: Jacobi’s Deli, Next Morning #12A- Entr’acte (DAVEY and the NEWSIES are quietly ignoring their drinks. MS. JACOB enters.) MS. JACOBI: Drink up, boys. And don’t never say I don’t give you nothing. And before you say water is nothing, just ask a fish in the desert. (MS. JACOBI exits.) FINCH: Why do old people talk? RACE: To prove they’re still alive. (KATHERINE arrives with a newspaper.) KATHERINE: Good morning, gentlemen. Would you get a load of these glum mugs? Can these really be the same boys who made front page of the New York Sun? ROMEO: Front page of what? (The NEWSIES rush towards KATHERINE and snatch the paper.) SALAMI: Lemme see! Lemme see! BUDDY: Look at that!? RACE: Would you lookit? Dat’s me! Dat’s me! JO JO: Front page and you ain’t even dead. TOMMY BOY: There I am! (Pointing to the paper) ROMEO: Where’s me? Where’s me? BUTTONS: Wait till my old man gets a load of dis. I won’t be last in line for the tub tonight.

DAVEY: (to KATHERINE) You got us the pape? KATHERINE: You got yourself in the pape. MUSH: “Newsies Stop the World”- now, there’s a headline even Elmer could sell! ELMER: Hey! SPECS: What else do you got? KATHERINE: Mine’s the only story that ran. Pulitzer declared a blackout on strike news, so even I’m shut down now. I heard they arrested Crutchie. Did they get Jack too? ALBERT: The Delanceys are spreading a story that he took it on the lam, first sight of the cops. LES: (charges ALBERT) Jack don’t run from no fight! ALBERT: Take it down, short-stop. I’m just reportin’ the news. CRISS-CROSS: Where’d he go? SPLASHER: I checked the usual places. No luck. CURLY: Wonder where he ended up? RACE: For jumpin’ Jack’s sake. Can you stow the seriosity long enough to drink in the moment? I’m famous! HENRY: What of it? RACE: Are you stupid or what? You’re famous, the world is your erster? HENRY: Your what? RACE: Your erster! Your erster! Your fancy clam with a pearl inside. HENRY: How much does bein’ famous pay? RACE: Ya don’t need money when you’re famous. They gives ya whatever ya want gratis! HENRY: Such as...? 30 #13- King of New York- Davey, Katherine, Les, Newsies RACE: A PAIR OF NEW SHOES WITH MATCHIN' LACES... ROMEO: A PERMANENT BOX AT THE SHEEPSHEAD RACES... HENRY: PASTRAMI ON RYE WITH A SOUR PICKLE... FINCH: MY PERSONAL PUSS ON A WOODEN NICKLE.. RACE: LOOK AT ME: I'M THE KING OF NEW YORK! SUDDENLY I'M RESPECTABLE, STARING RIGHT AT' CHA, LOUSY WITH STA'CHA. ALBERT: NOBBIN' WITH ALL THE MUCKETY- MUCKS, I'M BLOWING MY DOUGH AND GOIN' DELUXE. RACE: AND THERE I BE! AIN'T I PRETTY? RACE & HENRY: IT'S MY CITY. I'M THE KING OF NEW YORK! JO JO: A SOLID GOLD WATCH WITH A CHAIN TO TWIRL IT... LES: MY VERY OWN BED AND A INDOOR TERLET... MUSH: A BARBERSHOP HAIRCUT THAT COSTS A QUARTER... DAVEY: (indicating KATHERINE) A REGULAR BEAT FOR THE STAR REPORTER! RACE: AM-SCRAY, PUNK, SHE'S THE KING OF NEW YORK! KATHERINE: WHO'D'A THUNK! I'M THE KING OF NEW YORK! NEWSIES: WE WAS SUNK, PALE AND PITIFUL, KATHERINE: BUNCH OF WET NOODLES, KATHERINE & NEWSIES: PULITZER'S POODLES. LES: ALMOST ABOUT TO DROWN IN THE DRINK, BUTTONS: WHEN SHE FISHED US OUT RACE: AND DROWNED US IN INK! KATHERINE: SO LET'S GET DRUNK! NEWSIES: YEAH! KATHERINE: NOT WITH LIQUOR. FAME WORKS QUICKER WHEN YOUR KING OF NEW YORK. NEWSIES: I GOTTA BE EITHER DEAD OR DREAMIN', ' CAUSE LOOK AT THAT PAPE WITH MY FACE BEAMIN'. TOMORROW THEY MAY WRAP FISHES IN IT, BUT I WAS A STAR FOR ONE WHOLE MINUTE! (The NEWSIES and KATHERINE dance in the deli.) KATHERINE AND NEWSIES: LOOK AT ME! I'M THE KING OF NEW YORK! WAIT AND SEE: THIS GONNA MAKE BOTH DELANCEYS PEE IN THEIR PANT-SIES. FLASHPOTS ARE SHOOTIN' BRIGHT AS THE SUN! I'M ONE HIHFALLUTIN' SON-OF-A-GUN! I GUARANTEE: THOUGH I CRAPPED OUT, I AIN'T TAPPED OUT! I'M THE KING OF NEW- 31 FRIENDS MAY FLEE. LET 'EM DITCH 'YA! SNAP ONE PIT'CHA, YOU'RE THE KING OF NEWHISTORY! FRONT PAGE STORY, GUTS AND GLORY, I'M THE KING… OF NEW YORK! #13A- King of New York (Tag) SCENE TWO: The Refuge #14- Letter From The Refuge- Crutchie (In an empty corner, CRUTCHIE is sitting on a bed holding a pencil and paper. A lighted candle sits nearby. Other REFUGE KIDS are sleeping on the floor around him. He reads what he’s written.) CRUTCHIE: “ Dear Jack. Greetings from The Refuge! HOW ARE YOU? I'M OKAY GUESS I WASN'T MUCH HELP YESTERDAY SNYDER SOAKED ME REAL GOOD WITH MY CRUTCH (writes) OH YEAH, JACK? THIS IS CRUTCHIE BY THE WAY (back to reading) THESE HERE GUARDS, THEY IS RUDE THEY SAY "JUMP BOY, YOU JUMP OR YOU'RE SCREWED!" BUT THE FOOD AIN'T SO BAD LEAST SO FAR, 'CAUSE SO FAR, THEY AIN'T BRUNG US NO FOOD! HA, HA I MISS THE ROOFTOP (stops reading, daydreams) SLEEPING RIGHT OUT IN THE OPEN IN YOUR PENTHOUSE IN THE SKY THERE'S A COOL BREEZE BLOWIN' EVEN IN JULY (stops daydreaming, continues reading) ANY WAY, SO GUESS WHAT! THERE'S THIS SECRET ESCAPE PLAN I'VE GOT! TIE A SHEET TO BED, TOSS THE END OUT THE WINDOW CLIMB DOWN AND TAKE OFF LIKE A SHOT! MAYBE THOUGH, NOT TONIGHT I AIN'T SLEPT, AND MY LEG STILL AIN'T RIGHT!

BUT HEY, PULITZER! HE'S GOIN' DOWN! THEN JACK, I WAS THINKING WE MIGHT JUST GO, LIKE YOU WAS SAYIN' (daydreaming again) WHERE IT'S CLEAN AND GREEN AND PRETTY WITH NO BUILDINGS IN YOUR WAY AND YOUR RIDING PALOMINOS, EVERY DAY! ONCE THAT TRAIN MAKES (A KID on the bed kicks CRUTCHIE.) REFUGE KID REGGIE: Shut it crip. CRUTCHIE: Sorry. Ugh. This place (back to reading) I'LL BE FINE. GOOD AS NEW BUT THERE'S ONE THING I NEED YA TO DO 32 ON THE ROOFTOP YOU SAID THAT A FAM'LY LOOKS OUT FOR EACH OTHER SO TELL ALL THE FELLAS FROM ME, TO PROTECT ONE ANOTHER! (pauses, writes) THE END. YOUR FRIEND... (thinks, writes) YOUR BEST FRIEND... (hesitates, then crosses it out, writes) YOUR BROTHER...CRUTCHIE.” SNYDER: (offstage) You in there- pipe down! (CRUTCHIE blows out the candle.). #14A- Letter From the Refuge (Playoff) SCENE THREE: Medda’s Theater (JACK paints a backdrop of the Taos Mountains. It’s almost finished. MEDDA enters in a dressing robe.) MEDDA: Here’s everything I owe you for the first backdrop, plus this one, and even a little something extra just account’a because I’m gonna miss you so. (MEDDA hands JACK an envelope full of money.) JACK: Miss Medda. MEDDA: Jack. JACK: You’re a gem. MEDDA: Just tell me you’re going somewhere and not running away. JACK: Does it matter? MEDDA: When you go somewhere and it turns out not to be the right place, you can always go somewhere else. But you’re running away, nowhere’s ever the right place. (DAVEY finds his way in through the stage flies, excited to see JACK.) DAVEY: How ‘bout lettin’ a pal know you’re alive? MEDDA: I’ll leave you with your friend. (MEDDA exits.) DAVEY: Where’d you go? We couldn’t find you. JACK: Ever think I didn’t wanna be found? DAVEY: (indicating the backdrop) Is that a real place? That Santa Fe? (suddenly remembering, holds out the newspaper) Hey! You see the pape? We’re front page news, above the fold. Oh, yes. Above the fold. JACK: Good for you. DAVEY: Everyone wants to meet the famous Jack Kelly. Even Spot Conlon sent a kid just to say: next even you can count on Brooklyn. How about that? JACK: We got stomped into the ground. DAVEY: They got us this time. I’ll grant you that. But we took round one. And with the press like this our fight is far from over. JACK: Every Newsie who could walk showed up this morning to sell papes like the strike never happened. DAVEY: And I was there with them. If I don’t sell papes, my folks don’t eat. JACK: Save your breath. I get it. It’s hopeless. DAVEY: But then I saw this look on Weasel’s face; he was actually nervous. And I realized this isn’t over. We got them worried. Really worried. And I walked away. Lots of other kids did, too. And that is what you call a beginning. (LES enters, calling to KATHERINE behind him.) LES: There he is, just like I said. JACK: For cryin’ out loud... where’s a fella gotta go to get away from you people? DAVEY: There’s no escapin’ us, pal. We’re inevitable. 33 LES: (to DAVEY) So, what’s the story? Can we have the theater? DAVEY: Pipe down. I didn’t ask yet. LES: What’s the hold up? I need to let my girl know we’ve got a date. DAVEY: Your girl? LES: You heard me. I’ve been swattin’ skirts away all morning. Fame is one intoxicatin’ potion. And this girl, Sally, she’s a plum. JACK: (sees KATHERINE) Word is you wrote a great story. KATHERINE: (tentatively approaches JACK) You look terrible. LES: (studying the painting) Hey, Jack. Where’s that supposed to be? JACK: It’s Santa Fe. KATHERINE: I’ve got to tell you, Jack, this “Go west, young man” routine is getting tired. Evan Horace Greeley moved back to New York. LES: Yes, he did. And then he died. JACK: Ain’t reporters supposed to be non-partisan? KATHERINE: Ask a reporter. Pulitzer’s had me blacklisted from every news desk in town— LES: Can we table the palaver and get back to business? Will Medda let us have the theater? DAVEY: (to JACK) it’s what I been trying to tell you: we want to hold a rally – a citywide meeting where every Newsie gets a say and a vote. And we do it after working hours so no one loses a day’s pay. Smart?

JACK: Smart enough to get you committed to a padded room. KATHERINE: The guy who paints places he’s never seen is calling us crazy? JACK: Want to see a place I seen? How about this? #14B- Jack’s Painting (JACK turns the backdrop around and reveals a large, passionately executed political cartoon of the Newsies being crushed by Pulitzer in Newsie Square. DAVEY, LES, and KATHERINE stare in awe.) JACK: Newsie Square, thanks to my big mouth, filled to overflowing with failure. Kids hurt, others arrested— DAVEY: Lighten up. No one died. JACK: Is that what you’re aiming for? Go on and call me a quitter, call me a coward. No way I’m puttin’ them kids back in danger. DAVEY: We’re doing something that has never been done before. How could that not be dangerous? JACK: Specs brung me a note from Crutchie at The Refuge. I tried to see him. Climbed down the fire escape. But they busted him up so bad he couldn’t even come to the window. What if he don’t make it? You willing to shoulder that for a tenth of a penny a pape? DAVEY: It’s not about pennies. You said it yourself: my family wouldn’t be in the mess we’re in now if my father had a union. This is a fight we have to win. JACK: If I wanted a sermon, I’d show up for church. #15- Watch What Happens (Reprise)- Davey, Jack, Katherine, Les DAVEY: Tell me how quitting does Crutchie does any good? (JACK doesn’t answer him.) Exactly. So... HERE'S HOW IT GOES, ONCE WE WIN AND WE "WILL" BE WINNING, MAKE NO MISTAKE JACK: WE'LL BE WHAT? DAVEY: WE'RE ALREADY WINNING 34 JACK: RIGHT DAVEY: AND WE'LL TELL THEM STRAIGHT OUT THEY LET CRUTCHIE GO OR THEY KEEP GETTING POUNDED JACK: DAVE, WHAT THE HECK? DID THEY BUST UP YOUR BRAINS OR SOMETHIN'? AS I RECALL, DAVE WE ALL GOT OUR BUTTS KICKED, THEY WON. DAVEY: WON THE BATTLE. JACK: OH COME ON DAVEY: JACKIE, THINK ABOUT IT, WE GOT THEM SURRONDED JACK: HERE'S WHAT I THINK, JOE'S A JERK! HE'S A RATTLE SNAKE DAVEY: YOU'RE RIGHT! AND YOU KNOW WHY A SNAKE STARTS TO RATTLE? JACK: NO WHY? DAVEY: ‘CAUSE HE'S SCARED. JACK: SURE. DAVEY: GO AND LOOK IT UP. THE POOR GUY'S HEAD IS SPINNING. WHY WOULD HE SEND FOR THE GOONS, AN ENTIRE ARMY? DOZENS OF GOONS AND COPS, ANDJACK: YOU KNOW YOU MAY BE RIGHT DAVEY: THANK YOU, GOD! JACK: IF HE WASN'T AFRAID - DAVEY: EXACTLY! JACK & DAVEY: HE KNOWS WE'RE WINNING JACK, DAVEY, KATHERINE, AND LES: GET THOSE KIDS TO SEE WE'RE CIRCLING VICTORY AND WATCH WHAT HAPPENS WE'RE DOING SOMETHING NO ONE'S EVEN TRIED AND YES, WE'RE TERRIFIED BUT WATCH WHAT HAPPENS JACK: YOU CAN'T UNDO THE PAST DAVEY: SO JUST MOVE ON DAVEY & KATHERINE: AND STAY ON TRACK LES: STAY ON TRACK JACK, DAVEY, KATHERINE, AND LES: ‘CAUSE HUMPTY DUMPTY IS ABOUT TO CRACK KATHERINE: WE'VE GOT FAITH! DAVEY: WE'VE GOT THE PLAN! LES: AND WE'VE GOT JACK! JACK, DAVEY, KATHERINE, AND LES: SO JUST WATCH WHAT HAPPENS... WE'RE BACK! LES: And I've got a date! #15A- Back to Pulitzer’s Office 35 SCENE FOUR: Pulitzer’s Office & Cellar, Afternoon (The MAYOR, SEITZ, BUNSEN, and PULITZER are in a heated discussion. KATHERINE sits, listening quietly.) MAYOR: ...but I’ve read your editorials, Mr. Pulitzer. How can you express so much sympathy for the trolley workers and yet have none for the Newsies? PULITZER: Because the trolley workers are striking for a fair contract. The Newsies are striking against me! MAYOR: I’d spare you the embarrassment if I could, but Miss Medda’s Theater is private property. BUNSEN: He can’t order a raid without legal cause. PULITZER: Mr. Mayor, would the fact that this rally is organized by an escaped convict be enough to shut it down? MAYOR: An escaped convict? PULITZER: A fugitive from one of your own institutions. A convicted thief, at large, reeking mischief on our law-abiding community. (turns his desk chair around to reveal SNYDER and holds out the newspaper.) Mr. Snyder, which one is he? SNYDER: (pointing to the photo) That one there: Jack Kelly. MAYOR: And how do you know this boy? SNYDER: His is not a pleasant story. He was the first sentenced to my Refuge for loitering and vagrancy,

but his total disregard for authority has made him a frequent visitor. MAYOR: You called him a thief and escaped convict. SNYDER: After his release I caught him myself, red-handed, trafficking stolen food and clothing. He was last sentenced to six months, but the willful ruffian escaped. PULITZER: So you’d be doing the city a service removing this criminal from our streets. MAYOR: If that’s the case, we can take him in quietly and— PULITZER: (exploding) What good would quiet do me??? I want a public example made of him!!! (HANNAH rushes into the office.) HANNAH: Mr. Pulitzer- the boy, Jack Kelly, is here. PULITZER: Here? HANNAH: Just outside. He’s asked to see you. PULITZER: Ask and ye shall be received. Mr. Snyder, if you please. Sit. (PULITZER directs SNYDER to retreat to the shadowy corner and spins KATHERINE in the swivel chair so she’s hidden as well. HANNAH escorts JACK into the room.) HANNAH: Mr. Jack Kelly. JACK: Afternoon, boys... PULITZER: And which Jack Kelly is this? The charismatic union organizer, or the petty thief and escaped convict? JACK: Which one gives us more in common? PULITZER: Impudence is in bad taste when crawling for mercy. JACK: Crawlin’? That’s a laugh, I just dropped by with an invite. Seems a few hundred of your employees are rallying to discuss recent disagreements. I thought it only fair to invite you to state your case straight to the fellas. So what’d’ya say, Joe? Want I should save you a spot on the bill? PULITZER: You are as shameless and disrespectful a creature as I was told. Do you know what I was doing when I was your age, boy? I was fighting in a war. JACK: Yeah? How’d that turn out for ya? PULITZER: It taught me a lesson that shaped my life. You don’t win a war on the battlefield. It’s the 36 headline that crowns the victor. JACK: I’ll keep that in mind when New York wakes up to front-page photos of our rally. PULITZER: Rally till the cows come home. Not a paper in town will publish a word. And if it’s not in the papers, it never happened. JACK: You may run this city, but there are some of us who can’t be bullied. Even some reporters... PULITZER: Such as that young woman who made you yesterday’s news? Talented girl. And beautiful as well, don’t you think? JACK: I’ll tell her you said so. PULITZER: No need. She can hear for herself. Can’t you, darling? Katherine stands up. JACK steps back in surprise.) I trust you know my daughter, Katherine. (lets that sink in) Yes. My daughter. You are probably asking, why the nom de plume and why doesn’t my daughter work for me? Good questions. I offered Katherine a life of wealth and leisure. Instead she chose to pursue a career. And she was showing real promise, until this recent lapse. But you’re done with all of that now, are you, sweetheart? KATHERINE: Jack, I— PULITZER: Don’t trouble the boy with your problems, dearest. Mr. Kelly has a plateful of his own. Wouldn’t you say so, Mr. Snyder? (SNYDER steps into sight.) SNYDER: Hello, Jack. (JACK tries to run for the door, but is stopped by the DELANCYES. He realizes he’s trapped.) PULITZER: Ow! Does anyone else feel a noose tightening? But allow me to offer an alternate scenario: you attend the rally and speak against this hopeless strike, and I’ll see your criminal record expunged and your pockets filled with enough cash to carry you, in a first-class train compartment, from New York to New Mexico and beyond. (to KATHERINE) You did say he wanted to travel west, didn’t you? JACK: There ain’t a person in this room who don’t know you stink. PULITZER: And if they know me, they know I don’t care. Mark my words, boy. Defy me, and I will have you and every one of your friends locked up in The Refuge. I know you’re Mr. Tough Guy, but it’s not right to condemn that little crippled boy to conditions like that. And what about your pal Davey and his baby brother, ripped from their loving family and tossed to the rats? Will they ever be able to thank you enough? #16- The Bottom Line (Reprise)- Pulitzer, Seitz, Bunsen PULITZER: TIME’S RUNNING OUT, KID SO WHAT DO YOU SAY?

COWBOY OR CONVICT, I WIN EITHER WAY! YOUR ABJECT SURRENDER WAS ALWAYS THE BOTTOM LINE! PULITZER: Gentlemen, escort our guest to the cellar so he might reflect in solitude. (The DELANCEYS lead JACK out of the office and into the cellar.) TOO BAD YOU’VE NO JOB, JACK, BUT YOU DID RESIGN TOO BAD YOU’VE NO FAMILY, BUT YOU CAN’T HAVE MINE BE GLAD YOU’RE ALIVE, BOY- I’D SAY THAT’S THE BOTTOM LINE SEITZ: LIKE THE PIED PIPER YOU KNEW WHAT TO PLAY PULITZER: TILL THOSE KIDS ALL BELIEVED YOU WERE RIGHT BUNSEN: LUCKY FOR THEM ALL BUT ONE GOT AWAY PULITZER: THEY MAY NOT BE SO LUCKY TONIGHT The DELANCEYS deposit JACK in a dark space populated with nothing but a printing press.) MORRIS: We been given discretion to handle you as we see fit, so behave. 37 OSCAR: But, just in case, I been polishin’ my favorite brass knuckles. (Morris pulls the dust-covered tarp off of the old press and tosses it to JACK.) MORRIS: You can sleep right here on this old printing press. (slaps the hard surface) Now that there is firm. (OSCAR and MORRIS exit as JACK hopelessly takes in his surroundings. Suddenly, a familiar drumbeat sounds in military style. Voices are heard offstage.) #17- Brooklyn’s Here- Spot, Newsies SPOT: Come on Brooklyn! BROOKLYN NEWSIES: Newsies need our help today! (Newsies need our help today) Tell 'em Brooklyn's on their way! (Tell ‘em Brooklyn’s on their way!) We're from... (Brooklyn!) We are... (Newsies!) We are… (Brooklyn) Newsies! (The scene shifts to the Brooklyn Bridge as a cavalry of BROOKLYN NEWSIES make their way to the rally.) SCENE FIVE: Brooklyn Bridge & Medda’s Theater, Evening BROOKLYN NEWSIES: JUST GOT WORD THAT OUR BUDDIES IS HURTIN', FACIN' TOTAL DISASTER FOR CERTAIN. THAT'S OUR CUE, BOYS: IT'S TIME TO GO SLUMMIN'. HEY MANHATTAN, THE CAVALRY'S COMIN'! BROOKLYN NEWSIES GROUP 1: HAVE NO FEAR! BROOKLYN NEWSIES GROUP 2: YOU KNOW WE GOT YOUR BACK FROM WAY BACK! BROOKLYN NEWSIES GROUP 1: BROOKLYN'S HERE! BROOKLYN NEWSIES GROUP 2: WE'LL GET YOU PAY BACK WITH SOME PAYBACK! BROOKLYN NEWSIES: WE'RE THE BOYS FROM THE BEACHES OF BRIGHTON, PROSPECT PARK AND THE NAVY YARD PIER. STRIKES AIN'T FUN, BUT THEY SURE IS EXCITIN'. LOUD AND CLEAR! BROOKLYN'S HERE! SPOT: BOROUGH WHAT GAVE ME BIRTH, BROOKLYN NEWSIES: FRIENDLIEST PLACE ON EARTH. PAY US A VISIT AND SEE WHAT WE MEAN, AND WHEN YA DO, (WHEN YA DO, WHEN YA DO) WE'LL KICK YA HALFWAY TO QUEENS! (The BROOKLYN NEWSIES arrive at Medda’s Theater. With JACK’s political cartoon of Newsie Square as the backdrop, the theater begins to fill with NEWSIES from all five boroughs, singing and waving banners and placards.) BROOKLYN NEWSIES: NOW THEM SOAKERS IS IN FOR A SOAKIN'. WHAT A SAD WAY TO END A CAREER. THEY'S A JOKE, BUT IF THEY THINKS WE'RE JOKIN'. LOUD AND CLEAR! MANHATTAN NEWSIES: MANHATTAN'S HERE! FLUSHING NEWSIES: FLUSHING'S HERE! RICHMOND NEWSIES: RICHMOND'S HERE! WOODSIDE NEWSIES: WOODSIDE'S HERE! BRONX NEWSIE: SO'S DA BRONX! BROOKLYN NEWSIES: BROOKLYN'S HERE! ALL NEWSIES: LOUD AND CLEAR: WE IS HERE!! 38 (The NEWSIES go crazy. LES is seated with SALLY. SPOT shakes hands with DAVEY in the center of the stage as MEDDA steps forward.) MEDDA: Welcome, Newsies of New York City. Welcome to my theater and your revolution! (CROWD cheers.) DAVEY: Let’s here it for Spot Conlon and Brooklyn! SPOT: Newsies united! Let’s see what Pulitzer has to say to you now. SALLY: Hey Les, where’s Jack? FINCH: Yeah Davey, where is Jack? NEWSIES: Yeah. We want Jack! Where is he? (DAVEY looks to MEDDA for help.) MEDDA: Sorry, kid. No sign of him yet. Looks like you’re doing a solo. NEWSIES: JACK! JACK! JACK! JACK! (DAVEY timidly takes the stage.) DAVEY: Newsies of New York... look at what we’ve done! We’ve got Newsies from every pape and every neighborhood here tonight. Tonight you’re making history. (NEWSIES cheer.) Tonight we declare that we’re just as much a part of the newspaper as any reporter or editor. (The cheers grow louder.) We’re done being treated like kids. From now on they will treat us as equals. (JACK appears from the back of the theater and starts down the aisle.)

JACK: You wanna be talked to like an adult? Then start actin’ like one. Don’t just run your mouth. Make some sense. DAVEY: And here’s Jack! NEWSIES: Jack! Jack! Jack! (JACK climbs up onto the stage as DAVEY heaves a sigh of relief. KATHERINE has arrived and stands in the balcony.) JACK: (quieting the NEWSIES) All right. Pulitzer raised the price of papes without so much as a word to us. That was a lousy thing to do. (The NEWSIES cheer.) So we got made and let ‘em know we ain’t gonna be pushed around. (More cheers.) So we go on strike. Then what happens? Pulitzer lowers the price so’s we’ll go back to work! And a few weeks later he hikes the price back up again, and don’t think he won’t. so what do we do then? And what do we do if he decides to raise his price again after that? (Davey and the NEWSIES look to each other, confused by what JACK is saying.) Fellas, we gotta be realistic. We don’t work, we don’t get paid. How many days can you go without makin’ money? However long, believe me, Pulitzer can go longer. (The NEWSIES boo.) But I have spoken to Mr. Pulitzer and he has given me his word: if we disband the union, he will not raise prices again for two years. He will even put it in writing. (The boos are now drowning out JACK.) I say we take the deal. Go back to work knowing that our price is secure. All we need to do is vote “NO” on the strike. Vote “NO”! (The boos overwhelm JACK. He walks toward the wings, where BUNSEN is waiting with a wad of cash. He holds out the money out and JACK pockets it, looking around guiltily. LES reaches out, but JACK muscles him away and rushes out. The NEWSIES are furious, and their booing echoes across the theater, and the city, as the scene transitions...) SCENE SIX: Rooftop, Night #17A- To The Rooftop (KATHERINE has discovered JACK’s drawings stuffed in an air vent pipe and opens them up. JACK arrives.) KATHERINE: That was some speech you made. JACK: How’d you get here? 39 KATHERINE: Specs showed me. JACK: (snatches his drawings) He say you could go through my stuff? KATHERINE: I saw them rolled up, sticking out of there. I didn’t know what they were. These drawings...? These are drawings of The refuge, aren’t they? (takes the drawings back and studies them closer) is this really what it’s like in there: three boys to a bed, rats everywhere, and vermin? JACK: A little different from where you were raised? KATHERINE: Snyder told my father you were arrested stealing food and clothing. This is why, isn’t it? You stole to feed those boys. (JACK, embarrassed, turns away.) I don’t understand. If you were willing to go to jail for those boys, how could you turn your back on them now? JACK: I don’t think you’re anyone to talk about turning on folks. KATHERINE: I never turned on you or anyone else. JACK: No. You just double crossed us to your father. Your father! KATHERINE: My father has eyes on every corner of this city. He doesn’t need me spying for him. And I never lied I didn’t tell you everything... JACK: If you weren’t a girl you’d be trying to talk with a fist in your mouth. KATHERINE: I said that I worked for the Sun, and I did. I told you my professional name was Plumber, and it is. You never asked my real one. JACK: I wouldn’t think I had to unless I knew I was dealing with a backstabber. KATHERINE: And if I was a boy, you’d be looking at me through one swollen eye. JACK: Don’t let that stop ya. Gimme your best shot. (JACK presents his face to her. KATHERINE, out of nowhere, grabs JACK and kisses him full on the lips. They part. A moment of silence and then JACK tries to get another kiss, but is blocked.) KATHERINE: I need to know you didn’t cave for the money. JACK: I spoke the truth. You win a fight when you got the other fella down eatin’ pavement. You heard your father. No matter how many days we strike, he ain’t givin’ up. I don’t now what else we can do. KATHERINE: Ah. But I do. JACK: Oh, come one... KATHERINE: Really, Jack? Really? Only you can have a good idea? Or is it because I’m a girl? JACK: I didn’t say nothin’...

KATHERINE: This would be a good time to shut up. Being boss doesn’t mean you have all the answers. Just the brains to recognize the right one when you hear it. JACK: I’m listening. KATHERINE: Good for you. The strike was your idea. The rally was Davey’s. and now my plan will take us to the finish line. Deal with it. (KATHERINE takes a piece of paper from her pocket and hands it to him.) JACK: (reading) “The Children’s Crusade”? KATHERINE: (snatches it back and reads) “For the sake of all the kids in every sweatshop, factory, and slaughter house in New York. I beg you...join us.” With those words the strike stopped being just about the Newsies. You challenged our whole generation to stand up and demand a place at the table. JACK: “The Children’s Crusade”??? KATHERINE: Think, Jack, if we publish this- my words with one of your drawings- and if every worker under twenty-one read it and stayed home from work... or better yet, came to Newsie Square- a general city-wide strike! Even my father couldn’t ignore that. JACK: Only one small problem: we got no way to print it. KATHERINE: Come on, there has to be one printing press he doesn’t control. 40 JACK: (suddenly remembering) Oh no. KATHERINE: What? JACK: I know where there’s a printing press that no one would ever think we’d use. KATHERINE: Then why are we still standing here? (KATHERINE starts climbing down the fire escape ladder, but JACK stops her.) JACK: Wait. Stop. What’s this about for you? I don’t mean “The Children’s Crusade.” (indicating the two of them) What’s this about? Am I kiddin’ myself or is there something... KATHERINE: Of course there is. JACK: Well don’t say it like this happens every day! KATHERINE: Oh, Jack... JACK: I’m not an idiot. I know girls like you don’t wind up with guys like me. And I don’t want you promisin’ nothin’ you gotta take back later. But standing here tonight... lookin’ at you... I’m scared tomorrrow’s gonna come and change everything. #18- Something To Believe In- Katherine, Jack JACK: If there was a way I could grab hold of something to make time stop. Just so’s I could keep looking at you. KATHERINE: You snuck up on me, Jack Kelly. I never even saw it coming. JACK: For sure? KATHERINE: For sure. TIL THE MOMENT I FOUND YOU, I THOUGHT I KNEW WHAT LOVE WAS. NOW I'M LEARNING WHAT IS TRUE, THAT LOVE WILL DO WHAT IT DOES. THE WORLD FINDS WAYS TO STING YOU AND THEN ONE DAY, DECIDES TO BRING YOU SOMETHING TO BELIEVE IN FOR EVEN A NIGHT. ONE NIGHT MAY BE FOREVER, BUT THAT'S ALRIGHT, THAT'S ALRIGHT. AND IF YOU'RE GONE TOMORROW, WHAT WAS OURS STILL WILL BE. I HAVE SOMETHING TO BELIEVE IN, NOW THAT I KNOW YOU BELIEVED IN ME. JACK: WE WAS NEVER MEANT TO MEET, AND THEN WE MEET, WHO KNOWS WHY. ONE MORE STRANGER ON THE STREET. JUST SOMEONE SWEET PASSIN' BY. AN ANGEL COME TO SAVE ME, WHO DIDN'T EVEN KNOW SHE GAVE ME SOMETHING TO BELIEVE IN FOR EVEN A DAY. ONE DAY MAY BE FOREVER, BUT THAT'S OKAY, THAT'S OKAY. AND IF I'M GONE TOMORROW, WHAT WAS OURS STILL WILL BE. 41 I HAVE SOMETHING TO BELIEVE IN, NOW THAT I KNOW YOU BELIEVED IN ME. JACK AND KATHERINE: DO YOU KNOW WHAT I BELIEVE IN? LOOK INTO MY EYES AND SEE. (JACK and KATHERINE kiss until JACK pulls away.) JACK: If things were different... KATHERINE: What, if you weren't going to Santa Fe? JACK: And if you weren't an heiress. And if your father wasn't after my head. KATHERINE: (teasing) You're not really scared of my father. JACK: No, but I am pretty scared of you. KATHERINE: Don't be. JACK: AND IF I'M GONE TOMORROW... KATHERINE: WHAT WAS OURS STILL WILL BE. JACK AND KATHERINE: I HAVE SOMETHING TO BELIEVE IN, NOW THAT I KNOW YOU BELIEVED IN ME. JACK: I HAVE SOMETHING TO BELIEVE IN, JACK AND KATHERINE: NOW THAT I KNOW YOU BELIEVED IN ME. (Lights fade as a drumbeat is heard.) SCENE SEVEN: Pulitzer’s Cellar #19- Seize The Day (Reprise)- Newsies (In the semi-darkness, the NEWSIES cross the stage, lanterns in hand, spreading the news to NY CITIZENS in conspiratorial whispers.) NEWSIES: NOW IS THE TIME TO SEIZE THE DAY STARE DOWN THE ODDS AND SEIZE THE DAY

MINUTE BY MINUTE, THAT’S HOW YOU WIN IT. WE WILL FIND A WAY, BUT LET US SEIZE THE DAY. (JACK and KATHERINE enter the cellar. She hands him a ring of keys.) KATHERINE: I’ll get the lights. You get those windows unlocked. JACK: (goes to work undoing the window) You got enough keys here for the entire building. Has someone been picking daddy’s pockets? KATHERINE: The janitor’s been working here since he was eight year sold and hasn’t had a raise in twenty years. He’s with us one-hundred percent. (KATHERINE turns up the lights and uncovers the printing press. DAVEY, RACE, and a few other NEWSIES pour through the window. Two well-dressed kids, BILL and DARCY, go straight to work on the printing press.) JACK: (to DAVEY) You bring enough fellas to keep us covered? DAVEY: We could hold a hoe-down in here and no one would be the wiser. JACK: Good job. DAVEY: It’s good to have you back again. JACK: (apologizing, appreciatively, in his own way) Shut up. KATHERINE: Here she is, boys. Just think, while my father snores blissfully in his bed, we will be using his 42 very own press to bring him down. JACK: Remind me to stay on your good side. (RACE goes to the printing press) RACE: Is this what they print the papes on? DARCY: I can see why they tossed this old girl down to the cellar, but I think she will do the job. KATHERINE: Jack, this is Darcy. He knows just about everything there is to know about printing. JACK: You work for one of the papes? DARCY: My father owns the Trib. JACK: Whoa! KATHERINE: And this is Bill. He’ll be typesetting the article for us. JACK: (being funny) Bill? So I suppose you’re the son of William Randolph Hearst? BILL: And proud to be part of your revolution! JACK: (in awe) Ain’t that somethin’? KATHERINE: In the words of the little one, “Can we table the palaver and get down to business?” DARCY: A little grease and she’ll be good as gold. BILL: Great! Let’s get to work. #20- Once And For All- Jack, Davey, Katherine, Newsies DAVEY: All right. Here’s how it’ll work: as we print the papes, Race, you’ll let the fellas in and they’ll spread them to every workin’ kid in New York. After that…? (RACE takes his position at the window.) JACK: After that it’s up to them. THERE'S CHANGE COMIN' ONCE AND FOR ALL. YOU MAKES THE FRONT PAGE, AND MAN, YOU IS MAJOR NEWS. JACK & DAVEY: TOMORROW THEY'LL SEE WHAT WE ARE, JACK, DAVEY & KATHERINE: AND SURE AS STAR, WE AIN'T COME THIS FAR….TO LOSE! RACE: Here they come! (More NEWSIES take up their positions.) NEWSIES: THIS IS THE STORY WE NEEDED TO WRITE THAT’S BEEN KEPT OUT OF SIGHT, BUT NO MORE! IN A FEW HOURS, BY DAWN'S EARLY LIGHT WE'LL BE READY TO FIGHT US A WAR. THIS TIME WE'RE IN IT TO STAY. TALK ABOUT SEIZING THE DAY! JACK: WRITE IT IN INK OR IN BLOOD, IT'S THE SAME EITHER WAY: THEY'RE GONNA HAVE TO PAY! NEWSIES: SEE OL'MAN PULITZER SNUG IN HIS BED, HE DON'T CARE IF WE'RE DEAD OR ALIVE. THREE SATIN PILLOWS ARE UNDER HIS HEAD WHILE WE'RE BEGGIN' FOR BREAD TO SURVIVE. JOE, YOU CAN STOP COUNTIN' SHEEP. WE'RE GONNA SING YA TO SLEEP. THEN WHILE YA SNOOZE, WE’LL BE LIGHTIN’ A FUSE WITH A PROMISE WE’SE ACHIN’ TO KEEP. (BILL typesets the Newsies Banner.) JACK: ONCE AND FOR ALL, IF THEY DON'T MIND THEIR MANNERS WE'LL BLEED 'EM! NEWSIES: BLEED 'EM! 43 RACE: ONCE AND FOR ALL WE WON'T CARRY NO BANNERS THAT DON'T SPELL NEWSIES: “FREEDOM!" FIN'LLY WE'SE RAISIN' THE STAKES, THIS TIME WHATEVER IT TAKES, THIS TIME THE UNION AWAKES, ONCE AND FOR ALL! (DARCY pulls the first proof from the press and hands it to RACE. He passes it across the NEWSIES to KATHERINE.) KATHERINE: (reading) “In the words of union leader Jack Kelly, ‘We will work with you. We will even work for you. But we will be paid and treated as valuable members of your organizations.’” Riveting stuff, huh? JACK: (to KATHERINE) Get going. You’ve got a very important man to see. KATHERINE: Keep your fingers crossed. JACK: For us, too. (KATHERINE exits. The printing press churns away at a rhythmic pace. Papers are bundled. Bundles are passed between NEWSIES and collected for distribution.) NEWSIES:

THIS IS FOR KIDS SHININ' SHOES ON THE STREET WITH NO SHOES ON THEIR FEET EVERYDAY. THIS IS FOR GUYS SWEATIN' BLOOD IN THE SHOPS WHILE THE BOSSES AND COPS LOOK AWAY. I'M SEEIN' KIDS STANDIN' TALL, GLARING AND RARIN' TO BRAWL, ARMIES OF GUYS WHO ARE SICK OF THE LIES GETTIN' READY TO RISE TO THE CALL! ONCE AND FOR ALL THERE'LL BE BLOOD ON THE WALL IF THEY DOUBT US. THEY THINK THEY'RE RUNNING THIS TOWN BUT THIS TOWN WILL SHUT DOWN WITHOUT US! NEWSIES GROUP 1: TEN THOUSAND KIDS IN THE SQUARE! NEWSIES GROUP 2: TEN THOUSAND KIDS IN THE SQUARE NEWSIES GROUP 1: TEN THOUSAND FISTS IN THE AIR! NEWSIES GROUP 2: TEN THOUSAND FISTS! NEWSIES: JOE YOU IS GONNA PLAY FAIR, ONCE AND FOR ALL! NEWSIES GROUP 1: ONCE AND FOR ALL! NEWSIES GROUP 2: ONCE AND FOR ALL! NEWSIES GROUP 1: ONCE AND FOR ALL! NEWSIES GROUP 2: ONCE AND FOR ALL! NEWSIES GROUP 1: ONCE AND FOR ALL! NEWSIES GROUP 2: ONCE AND FOR ALL! (Ready to hit the streets, the NEWSIES raise their papers in defiance.) NEWSIES: THERE'S CHANGE COMIN' ONCE AND FOR ALL. YOU'RE GETTING TOO OLD, TOO WEAK TO KEEP HOLDIN' ON. A NEW WORLD IS GUNNIN' FOR YOU, AND JOE WE IS TOO, TILL ONCE AND FOR ALL, YOU'RE GONE! DAVEY: ONCE AND FOR ALL! JACK: ONCE AND FOR ALL! DAVEY, RACE, SPOT, MIKE, IKE, & MUSH: ONCE AND FOR ALL! NEWSIES: ONCE AND FOR ALL! (The sun rises as KATHERINE heads to her meeting, the Newsies Banner and JACK’s drawings in hand.) #20A- Once And For All (Playoff) 44 SCENE EIGHT: Pulitzer’s Office, Next Morning (The office is in full panic mode. HANNAH and BUNSEN scramble to answer phones as they continue to ring incessantly. PULITZER sits furiously at his desk.) HANNAH: (into the phone) I’m sorry, Mr. Pulitzer will have to call you back. BUNSEN: I’m sorry, but he’ll have to call you back. HANNAH: (next phone) He can’t talk. He’ll call you back— BUNSEN: I’m sorry, but he’ll— I’m sorry. I’m sorry. PULITZER: Silence those phones!!! (HANNAH and BUNSEN remove the receivers from their cradles.) BUNSEN: The entire city is shut down. No one is working anywhere. And everyone is blaming you. HANNAH: They’re all calling: the Mayor, the publishers, the manufacturers... and such language! (JACK, DAVEY, and SPOT enter merrily, chased by SEITZ.) SEITZ: You can’t just barge in... JACK: (offers up the Newsies Banner to PULITZER) How we doin’ this morning, gents? PULITZER: You’re behind this? We had a deal. JACK: (tosses bribe money on PULITZER’s desk) And it came with a money-back guarantee. And thanks for your lessons on the power of the press. SEITZ: (examining the article) Did you read this boss? These kids put out a pretty good paper. Very convincing. PULITZER: No doubt written by my daughter. JACK: (now reclining in an office chair) I’d sign her before someone else grabs her up. PULITZER: I demand to know who defied my ban on printing strike material! JACK: We’re your loyal employers. SPOT: We’d never take our business elsewhere. SEITZ: (examining the paper) The old printing press in the cellar. PULIZTER: (taking measured steps toward JACK) I made you the offer of a lifetime. Anyone who does not act in his own self-interest is a fool. DAVEY: What’s that make you? This all began because you wanted to sell more papers. But now your circulation is down seventy percent. Why didn’t you just come talk to us? JACK: Guys like Joe don’t talk with nothin’s like us. But a very wise reporter told me a real boss don’t need the answers. Just the smarts to snatch the right one when he hears it. (NEWSIES sing in Newsie Square below Pulitzer’s office.) #20B- Seize The Day (Reprise 2)- Newsies NEWSIES: NOW IS THE TIME TO SEIZE THE DAY STARE DOWN THE ODDS AND SEIZE THE DAY MINUTE BY MINUTE, THAT’S HOW YOU WIN IT WE WILL FIND A WAY. BUT LET US SEIZE THE DAY. HMMMMMM……(The NEWSIES continue to hum as a drum beats steadily.) SPOT: Have a look out there, Mr. Pulitzer. In case you ain’t figured it out, we got you surrounded. JACK: New York is closed for business. Paralyzed. You can’t get a paper or a shoe shine. You can’t send a

message or ride an elevator or cross the Brooklyn Bridge. You can’t even leave your own building. So, what’s your next move? (BUNSEN rushes back into the room in a tizzy.) BUNSEN: Mr. Pulitzer, the Mayor is here along with your daughter and... oh you’re not going to believe 45 who else! (In walk the MAYOR, KATHERINE, MEDDA, and GOVERNOR TEDDY ROOSEVELT.) MAYOR: Good morning, Mr. Pulitzer. I think you know the Governor. PULITZER: Governor Roosevelt? ROOSEVELT: Joseph, Joseph, Joseph. What have you done now? PULITZER: I’m sure when you hear my explanation— ROOSEVELT: Thanks to Miss Medda Larkin bringing your daughter to my office, I already have a thorough grasp of the situation- graphic illustrations included. (brandishes JACK’s drawings) Bully is the expression I usually employ to show approval. But in your case I simply mean bully! (to KATHERINE, referring to JACK) Is this the boy of whom you spoke? KATHERINE: Yes Sir. ROOSEVELT: (to JACK) How are you, son? I’m told we once shared a carriage ride. JACK: Pleasure’s mine, Mr. Governor. ROOSEVELT: (to PULITZER) Well, Joe, don’t just stand there letting those children sing… endlessly. Give them the good news. PULITZER: What good news? ROOSEVELT: That you’ve come to your senses and rolled back your prices. Unless, of course, you want to invite a full state senate investigation into your employment practices. PULITZER: (red with anger) You wouldn’t— ROOSEVELT: After the pressure you wielded to keep me from office? I’d do it with a smile. Come along, Joseph. There’s only one thing worse than a hard heart, and that’s a soft head. (PULITZER growls and postures.) And think of the happiness you’ll bring those children. (to HANNAH) He doesn’t do happiness, does he? HANNAH: (hushed) No sir. PULITZER: (cornered, shifting tactics) Mr. Kelly, if I may speak to you...alone. (The OTHERS withdraw from the room.) ROOSEVELT: (to JACK) Keep your eyes on the stars, and your feet on the ground. You can do this. (ROOSEVELT exits. JACK and PULITZER are alone.) PULITZER: I cannot put the price back where it was. (JACK starts to move away.) I’m sorry, I can’t. There are other considerations— JACK: I get it. You need to save face front of all these folks. I’m young, I ain’t stupid. PULITZER: Thank you for understanding. JACK: But I got constituents with a legitimate gripe. PULITZER: What if I reduce the raise by half and get the others to do the same? It’s a compromise we can all live with. JACK: (he thinks…) But you eat our losses. From now on, any papes we can’t sell, you buy back- full price. PULITZER: That’s never been on the table! What’s to stop Newsies from taking hundreds of papers they can’t sell? My costs will explode! JACK: No Newsie is gonna break his back haulin’ around papes he can’t sell. But if they can take a few more with no risk, they might sell ‘em and your circulation would begin to grow...(mocking PULITZER) “It’s a compromise we can all live with.” PULITZER: (calming considerably) That’s not a bad head you’ve got on your shoulders. JACK: Deal? (JACK spits in his hand and holds it out for PULITZER to shake.) PULITZER: That’s disgusting. JACK: Just the price of doing business. (PULITZER spits in his hand. JACK grabs it and shakes. Deal sealed.) 46 SCENE NINE: Newsie Square #21- Finale Ultimo (Part 1)- Company NEWSIES/BROOKLYN NEWSIES: AND THE WORLD WILL KNOW, WE BEEN KEEPIN’ SCORE EITHER THEY GIVES US OUR RIGHTS OR WE GIVES THEM A WAR WE BEEN DOWN TOO LONG, AND WE PAID OUR DUES AND THE THINGS WE DO TODAY WILL BE TOMORROW’S NEWS. AND THE DIE IS CAST, AND THE TORCH IS PASSED NEWSIES GROUP 1: AND A ROAR WILL RISE… NEWSIES GROUP 2: … FROM THE STREETS BELOW NEWSIES GROUP 1: AND OUR RANKS WILL GROW NEWSIES: AND GROW AND GROW AND GROW AND GROW AND GROW AND…. (JACK, KATHERINE, MEDDA, SPOT, DAVEY, ROOSEVELT, and PULITZER come out to the square. PULITZER, ROOSEVELT, and JACK mount a raised platform to address the CROWD.) JACK: Newsies of New York City... we won!!! (The CROWD cheers. JACK quiets them.) And now I’d like to

introduce my own personal pal, Governor Theodore Roosevelt himself!!! (The CROWD cheers.) ROOSEVELT: (recognizing this historical moment) Each generation must, at the height of its power, step aside and invite the young to share the day. You have laid claim to our world and I believe the future, in your hands, will be bright and prosperous. (to JACK) And your drawings, son, have brought another matter to bear. (signaling offstage) Officers, if you please. (A police whistle sounds. CRUTCHIE appears, blowing the whistle and waiving.) RACE: Hey lookit, Jack. It’s Crutchie! NEWSIES: (ad lib) Crutchie! CRUTCHIE: Hiya, fellas. You miss me? NEWSIES: (ad lib) Yeah. Sure. Ain’t been the same without ya. CRUTCHIE: And lookit what I got yis: straight from The Refuge. (calling offstage) Bring him in, fellas! (Two POLICEMEN enter with SNYDER between them.) RACE: It’s Snyder the Spider! MUSH: He ain’t lookin’ so tough no more, is he? ROOSEVELT: Jack, with these drawings you made an eloquent argument for shutting down The Refuge. Be assured that Mr. Snyder’s abuses will be fully investigated. (to a POLICEMAN) Officer, take him away. CRUTCHIE: (to ROOSEVELT) Please, Your Highness... may I do the honors? (ROOSEVELT gives him the approval. CRUTCHIE slaps handcuffs onto SNYDER.) SNYDER: You’ve got to be joking. CRUTCHIE: And you’ll be laughing all the way to the pen, “little man.” (CRUTCHIE gives SYNDER a kick in the rear.) So long, sucker! JACK: Thank you, Governor. (JACK races down to embrace CRUTCHIE. PULITZER steps forward, snatching JACK’s drawings away from ROOSEVELT.) PULITZER: (to JACK) I can’t help thinking... if one of your drawings convinced the governor to close The Refuge, what might a daily political cartoon do the expose the dealings in our own government back rooms? (to ROOSEVELT) What do you say, Teddy? Care to have this young man’s artistry shine a lantern behind your closed doors? 47 JACK: Don’t sweat it, Gov. With the strike settled, I probably should be hitting the road. (DAVEY and KATHERINE move towards JACK.) DAVEY: Don’t you ever get tired of singing that same old tune? What’s Santa Fe got that New York ain’t? Tarantulas? KATHERINE: Better yet: what’s New York got that Santa Fe ain’t? CRUTCHIE: New York’s got us. And we’re family. PULITZER: (bellowing from above) Didn’t I hear something about a strike being settled? (WIESEL and the DELANCEYS open the distribution window as PULITZER exits.) WIESEL: Papes for the Newsies. Line up, boys. These papes ain’t gonna sell themselves. MEDDA: (exiting with ROOSEVELT) Come along, Governor, and show me that back seat I’ve been hearing so much about. KATHERINE: (teasing JACK) Well don’t just stand there, you’ve got a union to run. Besides, didn’t someone just offer you a pretty exciting job? JACK: Me work for your father? KATHERINE: You already work for my father. JACK: Oh, yeah. KATHERINE: And you’ve got one more ace up your sleeve. JACK: What would that be? KATHERINE: Me. Wherever you go, I’ll be right there by your side. JACK: For sure? KATHERINE: For sure. JACK: DON’T TAKE MUCH TO BE A DREAMER. ALL YOU DO IS CLOSE YOUR EYES. BUT SOME MADE-UP WORLD IS ALL YOU EVER SEE NOW MY EYES IS FINALLY OPEN. AND MY DREAMS, THEY’S AVERAGE SIZE BUT THEY DON’T MUCH MATTER IF YOU AIN’T WITH ME (JACK grabs KATHERINE in an embrace and they kiss.) LES: (pointing to the public display of affection) Guys! (The NEWSIES catcall and whistle their approval.) DAVEY: Well, Jack… you in or you out? (JACK leaves KATHERINE. With a big smile, he approaches WIESEL, slaps his money down on the counter, and snatches up his papes.) #21A-Finale Ultimo (Part 2)- Company COMPANY: WE'LL ALL BE OUT THERE CARRYING THE BANNER MAN TO MAN! WE'RE ALWAYS OUT THERE, SOAKIN' EV'RY SUCKER THAT WE CAN. HERE'S THE HEADLINE: NEWSIES ON A MISSION! KILL THE COMPETITION! SELL THE NEXT EDITION! WE'LL BE OUT THERE CARRYING THE BANNER! SEE US OUT THERE CARRYING THE BANNER! ALWAYS OUT THERE CARRYING THE BANNER! LOOK AT ME: I'M THE KING OF NEW YORK!

SUDDENLY I'M RESPECTABLE, STARIN' RIGHT AT'CHA, LOUSY WITH STA'CHA. GLORY BE! I'M THE KING OF NEW YORK! VICTORY! FRONT PAGE STORY GUTS AND GLORY I’M THE KING…OF NEW YORK! (BOWS.) THE END

[carmen-berzattos]

Do you think the writing is as bad on tvd as it is on TO because that show couldn't find a comprehendible storyline if it tried. And i mean the acting is pretty bad on TO BUT above all what i hate the most about TO is that it's literally called the originals and it becomes SO MUCH about other people that you see some originals become supporting characters in their storyline, much like Hayley. Its kind of like the vampire diaries being called that when......there were literally no more diary entries like at all???

Hmmmm I haven't re-watched The Originals in quite some time, not since it ended so I can't give you the same retrospect that I'm doing for tvd, though I do hope to rewatch it once I'm done with TVD. Most of this is from my memory which we all know is quite flawed.

I do think that the Originals suffered from a lot of the same problems that TVD struggled with. And I find myself not really liking it without the caveat of it's actually quite bad but oh well. So, yeah, on the whole I agree, the originals was never brilliant either.

There are some marked differences in the writing. I think people overstate the role that Hayley played in the show. She actually always was second fiddle to whatever the Mikaelsons were up to. So I don't actually think that the criticism of the Originals not being about the Originals to have much merit. The Originals was primarily about the family dynamics between the Mikaelsons and the shortcomings of such a family. Hayley was sidelined a lot of the time and her storylines were always dropped in favor of Klaus and Elijah. I think a much more reasonable criticism here is that the Originals failed to center any of the Mikaelsons as much as it centered Klaus and Elijah, so it ended up revolving too much around the same relationship that TVD had. They did get one thing right, though, when it comes to not placing a romantic love as the center of the conflict, which imo make klelijah a much more interesting and dynamic duo since the love between them is undeniable. Something that I struggle with fully believing with Stefan and Damon.

The other thing that I think the Originals failed miserably at is female characters. And I mean, you see the pattern of them either sidelining or killing off female characters and honestly it's just *sigh*. Pretty much learned nothing from TVD.

The baddies were often times boring past season 2 tbh. The second and first season fared better in that department because the threat to the family being from within the family was particularly interesting and had high emotional stakes which are always better when you have such powerful protagonists. The trio of season 3 could have been interesting. But they honestly turned out to be a snooze fest.

Which is also something that I take a lot of issue with in this show that i think also has the TVD blueprint all over it. A lot of storylines with potential that kind of just fall flat on their face with a resounding MEH.

It did have some things that I enjoyed more. The acting, for example, is on the whole better-ish. I think that's mostly thanks to Joseph who is a genuinely talented actor. Daniel does well, most of the time, but is too stiff sometimes. Charles is quite charismatic so can compensate a lot for not being as good in a scene. Claire gets better in TO than she did on TVD. Phoebe, too, though I'm not under the impression that she's particularly good, but also charismatic enough I think. Then you have gems like Yusuf Gatewood who is just too damn excellent. Maisie is also good. I think they have a few guest stars like Claudia Black who are compelling. So not terrible on the whole.

TVD is a little worse off in my mind acting-wise. Paul does really well in a scene that is actually good. But Ian is very limited in range. He can pull off some things but mostly skates by on squinting and muttering through a clenched jaw any emotional scene. I think Candice and Nina have some really good moments, Nina especially as Katherine. But Nina as Elena is not good, actually. And Candice isn't given enough range. Same with Kat who is very charismatic but is not allowed enough room for acting. And the side characters are on the whole not good. Trevino and Zach and the actor who plays Jeremy being at the top of the list. They're all endearingly bad, in the sense that it's a part of the show's charm but that also makes some of their scenes really cringy to watch. And again I do think that most of good acting is about good writing so if you're not given much to work with l... also who you're playing opposite probably makes a lot of difference. I think Paul's scenes with Joseph are especially good because Joseph is really good, so the whole thing just Levels Up.

Anyways that was a very long ramble.

[eeveemasters]

hey, all you lovely people!  full disclosure i talk a lot and i have thought about this character thoroughly when you look under that read more... oh boy... just a heads up. anywho... guess i’m the last here i see, well, that’s typical. I’m late to literally everything, although this time I do have a good excuse. i’d tell you what it is but you don’t really wanna read about me gettin’ it in all weekend and drew is my bro -like literally. we share blood. we came outta the same womb. 26 hours of labor. 19 minutes apart. our poor mother-  so he def doesn’t wanna read about it and that is a swill of information about me before ya even know my name which says a lot, doesn’t it? inst-y-ways, I’m maddie and I’m Jewish, you’ll figure out why i’m putting that out there now. also hello again. i hope y’all are ready to get this party started, cause this is where it’s at! look below & hit that read more and I will tell you all about my baby girl, Eevee.

TW: DEATH, DEPRESSION, STALKER, MURDER, KIDNAPPING

★ ━  ( candice patton,   cis-female,   she/her )  ━ ★   just to be clear, ya didn’t get this information from me.   The person you’re lookin’ for is     EVELYN LUCIA MASTERS.   also known as     EEVEE.    Last I heard she was born on   APRIL 7TH, 1988    in    SAN ANTONIO, TEXAS,   but she’s been livin’ in   RICHMOND,    for about    EIGHT MONTHS.    Word around the districts is, this doll,    EEVEE  can be    VENGEFUL,   SELF-RIGHTEOUS,   &    A KNOW-IT-ALL,   but i gotta tell, ya, alls I seen is good things, like the fact that she’s   RESILIENT,   CHARISMATIC,    &     ENERGETIC.   I guess that depends on how well ya know ‘em, though.   the last thing ya need to know is that she works as an   A-LIST ACTRESS  &  CO-OWNER OF EXCALIBUR COMICS.  I don’t know much about what that’s all about but I do know that’s all I can tell ya the rest you gotta find out on ya, own.  ━     ( ooc:  maddie,   pst,   28,   she/her ) 

Evelyn Lucia Masters.

the irony of her name is that it means “wished for child”

she was definitely not.

hence why she goes by... 

Eevee. 

Yes, like the Pokemon.

No, it’s not a stage name or a gimmick.

She legally changed her name.

It’s on her credit card. ( so are kittens! )  

Born in San Antonio Texas.

Jewish, Bisexual & Very Proud.

Collette Rivers

Her mother.

One of the first and few Black, Soap Opera stars.

Had a wildly popular sitcom for a hot minute.

Career was on fire in the 80′s & 90′s.

Transitioned to clothing designer and eventually a reality tv real housewife when she couldn’t get jobs anymore.

Joseph Masters.

Her Father.

a former actor

was very well known for CSI.

was on broadway.

became a sought after director.

it’s a whole family in the biz, so of course...

@ two years of age, Eevee became an Actress™

baby diaper commercials with her mom.

then singing lessons.

then dance lessons.

then pageants.

more commercials.

a bit of child modeling.

more commercials.

reoccurring kid on sesame street.

then a reoccurring (but not staring) role on Gullah Gullah Island.

1998. She’s 10.

lands a role on Broadway opposite Leon Thomas III as Nala in The Lion King. 

this is the jumping-off point of her career. where it really shot off

but ignoring that for a minute...

Eevee has 5 other siblings.

4 of them are alive.

when Eevee was 15 she’d just gotten season 1st ( and eventually only ) season of her Disney show renewed and she had a stalker. on her 16th birthday, the stalker snuck into her sweet 16, cornered her when she and her older, brother Elias were alone, stabbed Elias, and kidnapped Eevee. Elias was rushed to the hospital when they found him but died shortly after.  They found Eevee, recovered her from the stalker unharmed, but when she asked about Elias... shortly after Eevee sunk deeper into her depression, and also suffered from survivors’ guilt and eventually had to stay in a mental hospital and was released a year later, a few days after her 17th birthday. being in the real world was hard for her and in a few weeks time, became legally emancipated from her parents because her father had taken control of monitoring her finances, her decisions, and became too controlling of her schedule and time out of his concern for her and her mother acted like none of it happened and expected Eevee to pick up where she left off and to get more jobs and keep working. It was an environment detrimental to her health and sanity so she had to get out of that and got her own place and moved away from her parents and unfortunately, her twin sister and younger brother.

Took a break from acting to finish high school.

had to have private tutors

excelled at the school aspect of her life.

had very few friends but she did have a girlfriend.

eventually, Eevee broke up with her

to seize her 5 minutes of fame she outted Eevee as a lesbian to TMZ.

It didn’t take long for Eevee to speak out.

At 17, in 2005, Eevee came out publically as Bisexual.

as a Black 17-year-old girl she was proud of herself.

but it did not go well for her in the media or in magazines.

didn’t help what little career she had left.

but she also kinda didn’t care

Became known for outspoken activism for LGBTQ+ youth.

Started her own charity and outreach program to finance and help struggling youth in the LGBTQ+ community by providing them with shelter, food, and treatment for health issues both mental and physical.  

went to college...

Northwestern State University.

joined the Alpha Kappa Alpha sorority

double-majored in theater and business

got married to one of her best friends at one point to help him out with his financial situation.

graduated with degrees. 

and real friends in and out of her sorority.

WORKED HER ASS OFF TO GET HER CAREER BACK ON TRACK.

it took a lot of hard work.

a lot of mediocre jobs.

a lot of auditions. 

a lot of shmoozing & playing the long game.

she pulled every single string

cashed every single favor

ate a lot of shit.

including going to her mother whom she hadn’t spoken to in six years.

EVENTUALLY ROSE BACK TO THE A-LIST WITH A VENGENCE.

Several Independent Films.

Supporting roles in TV shows.

Supporting roles in a few movies.

Starring roles in a number of pilots that never got greenlit.

Starring roles in 2 tv shows. 

one was canceled the first season.

the other had THREE SEASONS.

won an Emmy

Outstanding Supporting Actress in a Drama Series

landed a few ad campaigns

Eevee went back to Broadway a few times over the years.

Bring It On: The Musical

played Danielle

won a tony

Best Featured Actress in a Musical.

Newsies: The Musical

played Katherine.

dream come true.

Hadestown

played Eurydice.

nominated for a Tony.

The Lion King

played adult Nala.

life coming full circle.

Currently stars in her own Netflix show. 

season 2 just finished filming which is why she has moved to Portland.

PERSONALITY:

very much a complete dork. loves video games, loves comic books, has a lot of memorabilia all through her house, it’s practically a dork museum, always telling puns. always joking. always been an adorable ray of sunshine. she really likes to be a light and enforce positivity for her friends and others.

talks far too much for her own good especially when she’s nervous.

very kind, generous, and loving, always willing to help a friend.

always willing to cook for someone as a way to comfort them. She’s a well-versed home chef and an excellent baker.

she’s in-between the vodka aunt and the mom friend. she’s the first to suggest doing shots and getting fucked up, but she’ll also make sure everyone’s okay and be responsible.

She’s that friend who if you fuck with one of her friends in any way she will go into protective mamma bear mode and straight-up end that person for you. if you need someone to back you up in a fight, literally, and have your back she is your girl.

she isn’t great at flirting or really being around anyone she finds attractive, she turns into a rambling, nonstop talking, pile of adorable.

up until the end of December last year, she was a virgin. She’s only ever slept with one person so she’s not really the sleep around kind of girl but respects those who do, you do you boo, but also please don’t mistake her for a relationship type girl either. she’s neither. she’s great at fooling around and hookups that usually stop before they get to the sex part. she’s actually just very awkward when it comes to intimacy and feelings and getting close to people in that way. It fucks with her anxiety so she just needs someone who can get her out of her head and that is very hard to find for her.

She’s a feminist and believes women should be there to support each other, but also is aware that feminism isn’t always equal and some women don’t include her as a woman to support because she is a woman of color and because she’s Black and will call someone out on their white feminist or anti-black bullshit.

she’s kind but is in no way a pushover. she’s very opinionated and steadfast and isn’t afraid to reason with someone and argue with them and stand up for herself.

POSSIBLE CONNECTIONS:

Friends: people who can put up with her non-stop chatter and find it endearing.

Fake Friends: people who are using her for fame, recognition and what her name can do for them.

Crushes: could be one-sided, could be both-sided, let’s talk about it.

Boxing Friendship: sparing partners, or someone who sees her at the boxing gym in her workout outfits that include but is not limited to color-coordinated custom gloves, that match both her outfit, her shoes, her gym bag and the giant cheerleading bow on the top of her high ponytail,  but has never actually stuck around to see her box so don’t believe she can throw an actual punch because they can’t take that seriously, because she’s just a pretty little celebrity what can she actually do, but then one day end up in an argument with her and challenge her to a sparring match and to their surprise kicks their ass and they become sparring partners. I don’t know, clearly I haven’t given that plot much thought.

Step-family member: Eevee doesn’t have a relationship with her mom, but she is aware the woman got married to another woman who has kids when Eevee was 19 or so. She’s never met any of them. Never spoken to any of them. Never been invited to family functions. Knows full well they exist and they know full well she exists and they have actually hung out with other members of her family, just not her. So that sounds like awkward and traumatic fun for all involved right?? Bring the angst.

Fellow Actors: They could be real friends, could be fake friends, could have worked together, could just know of each other, could be a publicity friendship, dude, I don’t know.

Fans / Haters: like her work or don’t like her work???????????? I don’t know I’m just throwing stuff out there at this point.

I don’t know we’ll figure something out, I AM PUMPED AND EXCITED!!

[sweetsmellosuccess]

TIFF 2020: Days 5 & 6

Films: 5

Best Film of the Day(s): New Order

Good Joe Bell: Or, The Education of a Straight White Father. What Reinaldo Marcus Green’s film lacks in depth, it tries hard to make up for with earnestness. Mark Wahlberg plays the real-life father, who was in the process of walking across America in honor of his gay son, who committed suicide after being badly bullied in his smalltown Oregon high school, before he was accidentally hit on the road and killed in Colorado, six months into his planned two-year sojourn. The story is cut up between the present, with Joe on the road, doing terse speaking engagements (as Wahlberg plays him, the taciturn Bell isn’t much for public speaking), at local high schools and churches, and flashbacks to the past, as his son, Jadin (Reid Miller), attempts to get through his high school experience while being the subject of bullying, both in-person and via the Internet, until he reaches his breaking point. The message is certainly resonant, and Miller plays Jadin with the right amount of heartbreaking pathos, but Green’s film feels unnecessarily mechanized in order to put Joe front and center of the story (using a hallucination of Jadin at the beginning, which allows Joe to interact with him feels more than a little manipulative). Bell, with his quick temper, and impatience for anything that’s not directly to do with him, is a reasonable stand-in for exactly the type of straight white male who should be watching the film (but more than likely won’t). Wahlberg is gifted at playing this sort of character, who wants to have the full attention of everyone any point in time he chooses (“Did you hear what I said?” he asks incredulously after making an announcement and not receiving the proper praise for it). He’s a complicated dude, which the film alludes to without entirely capturing: He’s ready to fight at a moment’s notice, but shies away from directly confronting any of Jadin’s tormentors; has the good intention to take action to draw attention to the problem, but doesn't seem the least bit prepared to give a speech that really makes an impact (one detail the film does make work: His manner of saying “I love you” to his wife or sons, but only as a way of getting them to say it back to him). Connie Britton plays Lola, Jadin’s mother, a largely thankless role as the nurturer of the family, loving both her sons (Jadin’s brother Joseph is played by Maxwell Jenkins), and staying supportive no matter their father’s attitude. Near the end of his journey, as Joe begins to see the true folly of his ways, he meets a Sheriff (Gary Sinise), whose oldest son is also gay, which allows the two men to sit on the front porch of the sheriff’s house and contemplate the ways in which their lives didn’t go as expected. It’s clearly meant for the kick-ass Wahlberg audience (as Jadin says earlier in the film, they’re the actual problem), but I very much doubt they will be heading in droves to see it.

New Order: Meet the new boss, only in Michel Franco’s damning portrait of a society locked forever in cycles of oppression, revolution, and new oppression, it makes no difference who you are, what your belief system is, or whether or not you subscribe to a moral set of ethics. After an ominous opening montage of imagery largely taken from the film to come, we shortly begin at a resplendent wedding held at the city manse of a wealthy businessman for his daughter, Marianne (Naian Gonzalez Norvind), and her betrothed, Alan (Dario Yazbek Bernal). As Marianne’s mother, Pilar (Patricia Bernal) happily secrets away the envelopes carrying the new couples’ gift money in her safe, and rich and powerful families co-mingle, the distant danger of a furious revolution, lead by violent rioters raising up against the economic disparities of the city, seems at first to be light-years away. Until it isn’t. As rioters infiltrate the house, with the help of an insider, chaos reigns and bullets fly. The next morning, many people have been shot, the house has been utterly pillaged, and Marianne has been taken hostage by a rogue group of military, who snatch up wealthy-seeming refugees and hold them for ransom at an undisclosed outpost. By film’s end, Franco, working from his own screenplay, leaves no man, woman, or child unmarked. The wealthy are callous and vain, the rioters bloodthirsty and cruel, the hostage takers unbelievably greedy and horrible, and the righteous vanquished by further corruption at even higher levels of power. It’s a bit like the ending of a Coen brothers picture (Burn After Reading comes to mind), in which all loose ends are closed, and few, if any, people are any the wiser for it; only, there’s nothing the least bit arch in Franco’s thrown gauntlet: We aren’t spared the worst of it by indelible Coens’ proxies. We are all to blame, it would seem, and it has nothing to do with original sin: Our conniving, violent nature will undo any and all attempts to curb it. Insatiable avarice is our continual undoing, washing over us like the green paint the rioters hurl at passing cars and pedestrians, marking them as the enemy. In Franco’s thunderous film, nobody emerges unscathed; we’re all set on fire.

Wildfire: It’s a hoary Hollywood staple to substitute individuals as emotional stand-ins to capture the direness of historic catastrophic events, scaling everything down so we care more about the couple in star-crossed love than the war going on all around them. In Cathy Brady’s Irish drama, however, a pair of sisters are reunited after a year’s absence in the North Ireland bordertown in which they grew up, products of the uneasy peace, post-Troubles, in which everyone is meant to get along as one country, though hard feelings still abound. Kelly (Nika McGuigan) returns to the staid home of her sister, Lauren (Nora-Jane Noone), after taking off on her own the year before, and, by all appearances, living as a vagabond. Initially thrilled to have her sister back, Lauren is also still angry with her for taking off suddenly and not making any contact since. When the girls were little, their father was killed in a political bombing, and their mother might have committed suicide as a result (the car accident that killed her was, apparently, suspicious). Left to their own devices, then, they developed a fierce protective shell against any outsiders, including, it turns out Lauren’s increasingly concerned husband (Martin McCann), and longtime family friend Veronica (Joanne Crawford). The film changes gears when Lauren finally accepts Kelly again, and the two reform their partnership as intense as it was before. As the film points out, in a real sense, they are all each other truly have in the aftermath of their tragic childhood. The film clicks better into focus as well in its final act, when the sisters are reunited against all comers, and the world around them is better revealed for what it is: They represent the schism still very much a part of their community that no one else wants to see. Instead, people hang about in bars, or at work, nursing the bitternesses and hurts of the Troubles in private, and putting their public energy to getting along. Kelly, with her wildnesses and significant impulse control issues (trying to teach a young boy how to hold his breath underwater is, perhaps, not best accomplished by holding him down until he begins to panic), is at least honest with her feelings, open to her various wounds, and refusing to put the past behind them. Their mother gets referred to as “crazy” in the town’s estimation, but it’s more likely she, like her two daughters, represents the clear-eyed view of someone who refuses to live in denial.

Concrete Cowboy: Philadelphia as an open prairie has a nice vibe, and Ricky Staub’s film about a troubled teen who mother takes him from Detroit to where his father, an urban cowboy, lives in North Philly in hopes to setting the kid straight, is made with genuine care and gets solid performances from its mixture of professional and amateur actors. If this sounds like faintly damning praise, it’s only because despite its strengths, it still feels like a great set-up in search of a suitable story. Based on the real-life Fletcher Street stables (and the novel from Greg Neri), in which locals on the rough streets of the city shelter and take care of a group of horses for the sheer love of riding, the story follows the difficult maturation of Cole (Caleb McLaughlin), a decent enough kid, but searching for his place in the world, and the tough-love tactics of his dad, Harp (Idris Elba), a longtime cowboy, who hasn’t been in his son’s life in more than a decade. Cole starts out hating everything about his new situation, from Harp’s barebones lifestyle (not only are the cupboards empty, and the fridge filled with nothing but Coke and Bud Light, Harp keeps one of his horses in the living room, sharing it with his son), to being forced to muck the stalls out at the stables to earn his chance to ride, takes up with an old friend, Smush (Jharrel Jerome), a charismatic kid caught up in the drug life. Naturally, Cole’s choice comes down to which sort of life he wants to have, his father’s hardscrabble but honest approach (made more attractive when Cole develops a bond with his own horse, Boo), or Smush’s push for increased market share and more money to buy his own piece of land out West. Shot on location in North Philly, and around the city  —  one shot, in which Cole sits astride boo in full silhouette against a mottled purple sky, the lampposts standing in for saguaros, hits just the right note -- Staub’s film has a properly gritty texture, and the use of some of the real Fletcher cowboys adds further verisimilitude, but the story moves predictably enough, beat-by-beat, that it doesn’t hit with the potency it might have been capable of with a less predictable narrative arc.  

In a year of bizarre happenings, and altered realities, TIFF has shifted its gears to a significantly paired down virtual festival. Thus, U.S. film critics are regulated to watching the international offerings from our own living room couches.

[arecomicsevengood]

Movies Watched During Self-Isolation, Part One: Mostly Just Paul Schrader Stuff

 I’ve been watching movies during this period of not leaving the house, which goes back a bit further than just when we are all told to stop leaving the house. The streaming services I have access to at the moment are just Kanopy and The Criterion Channel, so I have been watching different things than people who have Netflix or Hulu have been, most likely. These things are generally older, and possess a different set of aesthetic values than things seem to in our era of codified genres and niche marketing. Even the things I end up not being particularly into feel refreshing, in aggregate. There is a real sense of “they don’t make movies like this anymore!” which means, in a lot of ways, movies that seem keyed into being movies, that seem to understand the role of actors as charismatic, mysterious, or sexy, that then dictates the stories that get told. Let me break it down into some specifics, which will then function as recommendations.

The Comfort Of Strangers, 1990, dir. Paul Schrader. One thing I’ve been watching is a lot of Paul Schrader movies. This one comes from the era of the “erotic thriller” and was maybe marketed as such, but it feels like a post-Peter-Greenaway thing, maybe because of the presence of Helen Mirren. Mirren plays one half of weird and creepy older couple with Christopher Walken. Walken’s voice opens the movie with a disembodied narration that sets a tone of creepiness right from the jump, but the disembodied nature of it, heard as the camera roams through a residence, also recalls Last Year At Marienbad. The movie is largely about a younger couple, played by Rupert Everett and Natasha Richardson, who are vacationing in Venice, and end up being stalked and sort of seduced by Walken and Mirren. The lens of sexuality is a huge part of this movie, but it’s this sort of mysterious force, like the gaze of the camera is itself a malevolent thing, because whoever’s behind it can be an uncaring pervert. Movies’ particular relationship to sex, and sex’s example of a compulsive behavior with capability of destruction, feels like it plays a large role in a bunch of the Paul Schrader movies I watched. I often chose to watch them because of this, their understanding of compulsion made them compulsively watchable, which I appreciated when I felt distracted or inattentive.

In The Cut, 2003, dir. Jane Campion. This has a similar thing going for it. In many of the film’s earliest shots, the camera follows the lead (Meg Ryan) from a distance, with bodies we don’t see the entirety of in the foreground, giving the impression she’s being stalked or in imminent danger, although mostly she isn’t. She plays a writing teacher who lives in an apartment where the head of a murder victim is found in the garden. Mark Ruffalo plays a detective investigating, they end up fucking, even as she becomes paranoid about all the men around her, especially after her sister (played by Jennifer Jason Leigh) is also killed. The interest in this lies in the fact that it’s directed by a woman and has both an oppositional relationship to the male gaze and an interest in depicting female desire. It feels pretty sordid and a little rushed at the end. However, the ending seems rushed because the person that ends up being the killer is a person Meg Ryan’s character had no romantic or sexual interest in, and so largely ignored or didn’t think about. It’s not a bad movie but to whatever extent a movie stands on the strength of how interesting its actors are, this one doesn’t deliver. There’s a cameo by Patrice O’Neal though, as like the gay doorman at a stripclub Jennifer Jason Leigh lives above? If I understood correctly.

Patty Hearst, 1988, dir. Paul Schrader. This one’s really interesting, and I’ve kept thinking about it for a number of reasons. One is the interest of the Patty Hearst story itself, which I guess I hadn’t heard the entirety of or thought much about. For one thing, I don’t think I really understood the concept that she was brainwashed or had stockholm syndrome? Which is one of the things that makes the movie good, or what makes Natasha Richardson, playing Patty Hearst, so amazing to watch: She’s really compelling playing someone who has no idea why they’re doing what they’re doing at any given moment, because when you’re brainwashed, you don’t know you’re brainwashed, which is both perfectly obvious to me thinking about now, but that I also need to remind myself of when I think about MSNBC viewers positive feelings towards Joe Biden, for instance. The movie begins with her sudden kidnapping. There are shots that show her, in flashbacks to her life before that point, in a blindfold, that I wasn’t too into when I thought they were going to be sort of the entirety of the movie, but is I guess just intended as a visual metaphor for this sort of trauma as a deconditioning thing that removes whatever sense of a historical self she would’ve previously had. I also didn’t realize the Symbionese Liberation Army was basically just a sex cult with very few members, that robbed banks essentially just to fund themselves. Ving Rhames plays the leader of a group otherwise made up of a bunch of neurotic and ineffective white people. A lot of stuff happens, it’s all pretty interesting, and it doesn’t feel anything like a biopic, it always feels like a story is being told, but it’s always destabilized, and always heading towards doom. After arrest, Patty Hearst’s lawyer makes the argument that, even though she’s clearly brainwashed and undergone great trauma, and that is why she joined in bank robberies and the spouting of revolutionary rhetoric, it will be impossible for her to get a fair trial making that argument as so many parents felt their children went away to college in the 1960s and came back brainwashed as different people, though they did it of their own free will.

Hardcore, 1979, dir. Paul Schrader. This one’s about George C. Scott as midwesterner whose daughter gets kidnapped on a Church trip to California and ends up in porno. I guess has some parallels with Patty Hearst in terms of preying on parental fears, but also has this sort of sordid exploitation-y vibe in its basic summary. Peter Boyle plays a private detective whose debauched nature really bothers George C. Scott, whose beliefs the film takes pretty seriously. The end of the movie revelation that the daughter basically did run away and hates her dad sort of comes from nowhere, but the daughter is largely absent from the entire movie, and the disconnect between her and her father plays out so much from the father’s perspective it’s not really unearned. It also makes sense considered in the context of Patty Hearst, which is both a deepr work, but also a historical one, sort of about the creation of the moment and cultural context in which Hardcore would’ve been made and received. I wish Schrader’s first movie, Blue Collar, was available on a service I had access to.

Auto Focus, 2002, dir. Paul Schrader. This was the first Paul Schrader movie I was aware of, it was sort of critically-acclaimed. I avoided it because it seemed somewhat exploitative and grossly voyeuristic, being about Hogan’s Heroes star Bob Crane, here played by Greg Kinnear, and his interest in filming himself having sex with random women lured in by his celebrity. The film is characterized by a certain glib irony, but it’s also defined by the presence of Willem Dafoe, who’s great in it, as a completely loathsome person, taking advantage of Bob Crane’s celebrity to participate in the sex he otherwise would not have access to, and hastening his downfall by transforming him into a totally debauched sex addict, before finally killing him. The contrast between Bob Crane’s wholesome exterior and his descent into depravity is mirrored by a contrast between the the sort of jokey mockery of that contrast and a lived-in sense of squalor in the depiction of two men in a basement jerking off as they watch porn together.

Light Sleeper, 1992, Paul Schrader. Dafoe stars in this one, alongside Susan Sarandon, much hated by some for her adamant refusal to support Hillary Cilnton. This makes Sarandon admirable to me, but I don’t know how much I’ve seen her in. She’s in Louis Malle’s Atlantic City, also on the Criterion Channel, a movie I thought was great when I saw it but have forgotten almost everything about in the years since. Dafoe plays a mid-level drug dealer, who’s been off drugs for a few years, and Sarandon is his higher-level contact, who’s looking to get out of selling entirely and enter the cosmetics business. Dana Delaney plays Dafoe’s ex-wife, from his addict days, back in town because her mother is dying in the hospital. The compulsion towards sex that’s present in a bunch of other Schrader movies is replaced here with drug addiction as this force to fight against, or exist in tension with, and also love, which is very present in this movie and very tender. The movie also boasts early-career cameos by Sam Rockwell and David Spade, and the great Jane Adams plays Dana Delaney’s sister. Delaney’s character ends up relapsing and dying, probably due to the shock of her mother’s death, probably not helped by the unplanned reminder of DaFoe’s character. It seems very rare for a movie to have roles as strong for women as this movie does. Even the psychic who Dafoe sees in two scenes, played by Mary Beth Hurt, who I don’t know from anything else, is great.

La Truite, 1982, dir. Joseph Losey. A friend of mine highly recommended Joseph Losey’s film Mr. Klein, but that one’s hard to track down. This stars a young Isabelle Huppert as a young woman who gets flown out to Japan by a rich businessman. He doesn’t have sex with her, just sort of enjoys the money being lavished on her, but her husband, who she also does not seem to have sex with, gets pretty pissed about it.

Eva, 1962, dir. Joseph Losey. This is a really similar movie from Joseph Losey in a lot of ways. It stars Jeanne Moreau, who also has a smaller part in La Truite, and it’s also about a woman whose whole deal is getting money from rich dudes and not having sex with them. In La Truite, Huppert’s life gets kind of ruined, in this movie, Moreau does the ruining, of an author/hack who is married to an actress from one of his work’s movie adaptations who doesn’t know what the he confesses to Moreau, which is that he stole the book from his dead brother and didn’t write a word of it. I wasn’t that into either of these movies but I feel like the sort of archetype, of like a young beautiful woman who doesn’t want sex and sort of just busts men’s balls “works” in a film, how film’s objective or ambivalent view makes their motivations opaque in a way that allows them to be compelling to male and female audiences alike, if for different reasons. Vera Chytilova’s Daisies plays on this sort of youthful feminine brattiness too, to a more anarchic effect. None of these characters have as much depth as Patty Hearst or any of the women in Light Sleeper but they nonetheless suggest the possession of such, kept far away from the camera’s eye.

[ragingnewsgirl-blog]

Did the Newsies Actually Exist?: A Masterthread

Hey guys! I found myself needing a reference thread for which characters in Newsies (the movie and the broadway musical) actually corresponded to real members of the Newsboys Strike of 1899. This doesn’t have to do with just the newsboys themselves, but also the other characters. I hope this thread serves to help anyone who may be looking for this type of information! I’ll be updating this post periodically when I get new information. Use CTRL + F if you’re searching for a specific character!

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Main Newsies

Jack - Sort of (The character seems to be modeled off of Kid Blink, the actual leader of the Strike. Kid Blink was known to be charismatic and good at giving speeches, similar to how Jack was portrayed. Also, Kid Blink is infamous for supposedly accepting a bribe and going against the Newsies Strike, which is similar to how Jack accepted the money in return for speaking out at the rally. He also may have partially been based off of Morris Cohen, who helped to form the Strike.)

Davey - Yes (The inspiration for his character was David Simmons, who was the President of the newsboys Union and was noted to be one of the most eloquent of the group, similar to how Davey was the one to calm everyone down and lay out plans and such.)

Les - No (David could perhaps have a had a brother, but he was never mentioned.)

Crutchie - Yes (He was based off of a boy named Crutch Morris, who did really use a crutch to help walk. He was considered a prominent member of the Strike, at least in the second half, which is similar to how he’s portrayed as a main character in the musical/movie).

Spot - Yes (Although Spot Conlon did exist, he was not the leader of Brooklyn. He is a Brooklyn newsie, and refers to himself as the Grand Master Workboy of Brooklyn, which implies that he does have a very high role, although he’s only mentioned twice historically before he disappears altogether).

Race - Yes (Racetrack Higgins was a real boy, but he was not part of Manhattan - he was the leader of Brooklyn! He was eager to join the Strike and helped Manhattan out a lot, eventually becoming the vice-president of the Newsboys Union. Just like in the movie, he loved races and gambling! He also helped organize the rally.)

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Supporting Characters

Katherine/Sarah - Possibly (Katherine, most likely, was based off of Annie Kelly. Ironic, since Katherine was Jack’s love interest, and his last name was Kelly, hm? Annie Kelly was described by a newspaper as “one of the most faithful strikers”. She wasn’t a reporter, but actually sold the newspapers. She was famous among the strikers and newsboys and was quoted as being their “patron saint”. Only three women went to the rally at Irving Hall, Ms. Kelly being one of them.) (ALSO, the inspiration for Katherine’s name and her being the daughter of Pulitzer was that Pulitzer actually did have a daughter named Katherine - she died at the age of 2 from pneumonia.)

Medda - Yes (Medda’s character was based off of Aida Overton Walker, a black Vaudeville performer around the time of the Newsboy Strike of 1899. She was quite young when the Strike was going on, around 19 years old, so she wasn’t the motherly figure that was depicted in the musical/movie. Despite this, she DID provide a safe place for the Newsies and other kids who didn’t have a home. She was known as the “Queen of the Cakewalk”!)

Pulitzer - Yes (Joseph Pulitzer was obviously a real man. He was very powerful and rich and did end up racing the price of papers from 50c per hundred to 60c, and then tried to bargain for 55c - which was unsuccessful. In the two weeks of the Strike, Pulitzer suffered greatly and lost a great deal of his revenue. Eventually he agreed to buy back any unsold papers that the Newsies had, but he refused to lower the price - this was good enough, apparently, and the Strike was therefore ended.)

Roosevelt - Yes (Roosevelt was the governor of New York at the time of the Strike, but he actually didn’t do anything about it. Unlike the movie and musical, he had absolutely nothing to do with the Newsboys Strike of 1899.)

Wiesel - No

Snyder - No

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Pulitzer’s Crew

Seitz - Yes (Don Seitz, historically, was the manager of the World. Possibly lied to Pulitzer about the Strike ending not once, but twice.)

Hannah - No.

Bunsen - No.

Wiesel - No.

Darcy - No.

Bill - No (William Randolph Hearst allegedly has six children, but none of them were named Bill.)

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Minor Newsies

Mush - Yes (Based on “Mush” Meyers, the boy was said to be very intelligent. Also noted to be the most romantic of the newsboys. It’s also possible he got his name from being infamous for making out with his girlfriends in Central Park.)

Buttons - No

Albert - No

Elmer - No

Finch - No

Romeo - Possibly (Could be based on “Mush” Meyers due to his romantic nature).

Henry - Possibly (He could be based off of Henry “Major Butts” Butler, the boy who stepped up to take control of the Strike after Kid Blink was arrested. He was a newsie of upper Manhattan like Henry, but played a much larger role in the Strike than portrayed in the actual character.)

Mike/Ike - Possibly (They could be based off of Samuel Wolkinsky and John Armstrong, two newsies who worked and were arrested together for “cruel and unusual punishment” - they forced a scab to eat his own papers!)

Jojo - No

Specs - No

Splasher - No

Skittery - Yes (A newsie by the name of Skittery is mentioned in some historical papers.)

Dutchy - Yes (A newsie by the name of Dutchy is mentioned in some historical papers.)

Sniper - Yes (Some newspapers mention a newsboy by the name of Snipe-Shooter, which possibly inspired the character).

Kid Blink - Yes! (Reference Jack’s explanation.)

Tommy Boy - No

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Sources

http://nineduane.queenitsy.com/names.html https://newsboys-of-1899.tumblr.com http://newsiesfreak.com/history.html Several historical newspapers from around 1899-1900 https://newsboysstrike1899.weebly.com/newsies.html

[ezerkenegdc]

Would Joseph's wife have been the first Faith if she survived?

  Great question!!   I cannot speak for every version of Joseph’s wife that there could be, but it is possible.   We are only really given one line about her character where she was described as having faith when Joseph professed to having worries about money and other things.  This does not mean that this would translate to other areas or that his wife would have been receptive to the idea of taking on that role for the entire congregation.  We can’t really know based upon a single line of information and the lack of information as well on the history of the Faiths.  We do not know how many there are and who they might have been.  We only know about the current one and that there may have been three or four others.  Selene, Lana, and a tall dark haired woman ( which hey could have been Hannah because it said she was as tall as her brother and had dark hair.  Hannah is as tall as John and does have dark hair so vague connection, very vague, but possible for my rendition of his wife if I were to explore that route. )   However, ubi does not make it clear if Lana and the tall dark haired woman are the same so, it depends on how you view the situation. 

  In truth,  I think that his wife could have taken it up, but would not have for long.  The role of Faith is not one that has been taken up for long by any of the women in my opinion.  It’s expendable and the person in shuffled out and replaced without any notification to the congregation.  i.e. that note that was found on the washer stated that Faith was described as a tall, dark haired woman, but they had seen a woman instead carrying the name that was blonde, which was Selene.  I don’t think they say what happens to Selene, or of any others, but they mentioned that Lana was disposed of in muck rather thoughtlessly.  Like, she was no longer worthy of their time.  Which has lead me to believe that work is put in to bring the women in to the fold, and then once they have proven incapable or if they have shown doubt, they are disposed of and replaced with someone else the project has groomed for the role. 

  As for the grooming,  we are given one view where Joseph tells the women what they want to hear and inflates them with kindness and worth, and gives them a strict code to go by.  Giving someone hope and a way out of the situation that has severely troubled them  ( such as Rachel’s drug habit )  can give someone a certain kind of hero status even if said person has selfish motives for doing so.  It is not hard to believe that he is capable of this and is rather successful at it so, I think there may have been many more Faith’s in the early congregation’s history, but that is a personal opinion.  He is a charismatic man after all, and has proven to be capable of getting himself anything he has wanted before and has gotten himself out of situations that many would not be able to.  His tactics probably have changed with each person he has wanted to carry the name,  which is also to say,  that he probably also got better at it over time.  Practice makes perfect. 

  On the other hand,  we are given another picture through the notes left behind and through the final moments of Faith’s life.  The disposal of Lana’s body is a good indication that this is not exactly a long lasting loving relationship.  Rachel, at the end of her life, says that he threatened her and she does seem genuinely afraid of him when you burn the personal copy of the Book of Joseph.  Which also mentions that she was given a dose of scopolamine and made pure which allowed her to take on the role as Faith and as their sister.  Tracey is also under the impression that Joseph is reading their letters and kind on controlling when and where Rachel can go.  I would  argue that this is likely true and not just a manipulation tactic to get us to sympathize with Rachel and thus making it harder for us to kill her.  Also, Rachel handed over the entire conservatory and allowed it to be the place of bliss production which is something that would be valuable to the project.  So Rachel would be a prime candidate to take on the name since they would gain so much from her. 

  All of that is to say that if Joseph is willing to bring his brothers into the fold and allow for them to be in such a position that they could be killed or hurt,  then why would he keep his wife from such a position?  She could have been the first when the project was young and they were making the pilgrimage to Hope County.  She could have lost the faith along the way and as her faith weaned, a new one to carry on the role was selected and groomed into the ideal Faith and  thus began the long procession of those who carried it.  Alternative,  if she did not,  he could have modeled the first to have qualitie of his wife and continued to shape women afterwards because he realized that people did need that comfort in some form.  It could be comfort in the form of healing, in kindness, in compassion, in the bliss. The project is full of danger and violence,  there needed to be some sort of softness to ease the blow.   Alternatively again,  no she could not have and simply played the role that I have Hannah playing, a supporting role in the background who wants nothing more than to love her family.  The role was born when there was a need and someone was picked to take the role.  Just depends on how you view Joseph, Faith, and the Project as a whole. 

LONG STORY SHORT: DEPENDS ON HOW YOU WANT TO LOOK AT IT. 

[funkymbtifiction]

The Elephant Man (Quick Types)

UNOFFICIAL TYPINGS BY: chipmunkfanno1love

Mr Bytes [ESTJ]

Mr Bytes is a freak show owner who rules over his “freaks” with an iron fist. He is a brutal man who has no trouble demanding orders whether it be through the blunt tone of his voice or the whip of his cane; Merrick being the main victim of these brutal blows. He is a efficient leader who knows how to rile up an audience with his dramatic introductions. (Te).

He is very single-minded and realistic, seeing Merrick, his star attraction as his only form of livelihood and sees no other alternative for Merrick in terms of making a living, as he states: “He is a freak! How else will he live?” (Si)

He uses opportunities such as a brutal fight between two ladies in the waiting room to sneak into the hospital to confront Treves (he may have even planned the stint). When he is unable to force Treves to give Merrick back to him or go to the authorities at the risk of being thrown in jail himself for his exploitation of the man, Bytes bribes his way into Jim, the porter’s private viewing of John with people from the pub, and uses the opportunity to kidnap him. (Ne)

He’s very possessive of “his treasure” and despite his claims that he and Merrick are “partners” it’s quite clear that he couldn’t care less about the man’s welfare, for when John gets sick and is no longer able to perform Bytes is quite willing to let him die as he sees he is no longer of use to him (Te-Fi). He even goes so far as to accuse John of trying to spite him and throws him into a cage filled with baboons in anger. Bytes in general is an emotionally unstable man who often drowns his sorrow in alcohol. (unhealthy Fi).

Hogwarts House: Slytherin

House Traits: cunning, resourcefulness, and ambition.

Bytes is a clear Slytherin. He is very resourceful and ambitious when it comes to making money through his shows, and doesn’t care what it takes in order to make it happen. John Merrick, the Elephant Man is quite literally “his treasure” as the man’s star attraction and money-maker, and Bytes will stop at nothing to keep him to himself, even if he makes the man’s life miserable in the process. He knows how to manipulate situations, such using a cat-fight in the waiting room to sneak into the hospital or bribing his way into John’s room so he can kidnap him. For Bytes, he always gets his way.

Note: The character of Bytes is loosely based on Tom Norman, the real owner of the freak show that Merrick was showed at. There’s no real proof however that Joseph Merrick was mistreated in the freak shows he was in.

Jim the porter [ESTP]

Jim, the hospital’s porter is definitely an opportunist. When he discovers John Merrick in the isolation ward he immediately sees him as an opportunity to entertain his friends from the pub and make some money from his private viewings of the Elephant Man. He’s a social man who loves drinking, money and women. (Se)

He’s charismatic enough to get the attention of a crowd (Fe), but is more reckless and chaotic about it compared to the blunt and organised Bytes. He even takes John’s personal autographed photo of Mrs. Kendal during one of his particularly wild viewings, which shows just how detached he is. (Ti)

Overall he is a selfish man who refuses to take responsibility for his actions or even show remorse for his terrible treatment of John, remarking it “…was only a bit of fun”. To him Merrick is nothing more than a “monster” for him to exploit and he even admits to being proud of what he did, saying he isn’t scared of Treves and his “bleeding Elephant Man”, hinting perhaps that he might be jealous of Treves and the success he’s gained through housing and caring for John.

Jim’s lack foresight for the consequences of his actions manage to catch up with him, as a delivery boy witnesses his humiliating party and tells Treves, ultimately leading to him being fired. In fact his foresight is so poor that Bytes uses the opportunity to kidnap Merrick, leading to Treves to accuse Jim of working with him. (Ni)

Hogwarts House: Slytherin

House Traits: cunning, resourcefulness, and ambition.

Jim is certainly ambitious when comes to making money, and hopes to entertain his friends in the process. He doesn’t care what risks he takes or if he’s hurts others in the process, if he has a goal in mind, he is determined to make it happen. He’s more reckless and disorganised compared to the blunt and organised Bytes, but he is just as ambitious. He is resourceful enough to get away with his humiliating shows (at least temporarily) and manipulates John through fear in order to get away with it. All of these traits definitely make him a Slytherin.

Mrs Ann Treves [ISFJ]

Ann Treves is Dr. Fredrick Treves’ wife. She is a polite and traditional English lady, who hosts a respectable tea party alongside her husband for their guest, John Merrick.  Like John, she is a sentimental person with a fondness for her family and the memories they have together, as shown by the many portraits she has on her mantelpiece. When John comments on the photo of her parents “They have such noble faces.” she replies proudly in agreement “Yes, I’ve always thought so myself.” (Si)

Although she is originally shocked by Merrick’s appearance, Ann remains a polite hostess. She is a compassionate woman who sympathises with John’s plight, so much so that she is moved to tears over hearing of his tragic childhood. She also proves to be a supportive wife to her husband, reassuring him that he is a good man when he compares himself to Bytes. (Fe) When Fredrick makes evidence of his claims by saying that his popularity in his services as a doctor have increased dramatically since he has housed, cared and introduced John to society, Ann doesn’t hesitate to use her own evidence to show that her own claims are true:

“Of course they do because you’re a very fine doctor. John Merrick is happier and more fulfilled now, than he ever has been in his entire life and it’s completely due to you.” (Fe-Ti)

Though she doesn’t openly say anything out of politeness, it’s possible that she and Fredrick sent their children out to play with friends out of fear of how they would react to John’s appearance. (Fe-Ti-Ne) Despite her common sense (Ti) the expression on her face when John asks where the children are suggests she feels guilty about this choice (Fe).

Hogwarts House: Hufflepuff

House Traits: hard work, patience, loyalty, and fair play.

Ann Treves is a very kind and compassionate woman. She displays her loyalty towards her husband when he questions his morality and shows a great amount of sympathy towards John’s plight. She is a polite hostess at her and Fredrick’s tea-party for John. She may possibly be a good home-maker as well, hinted from the way the pictures are arranged on the mantelpiece. This also shows that family is very important to her, as it is also shown when she speaks fondly about her parents. These traits make her a clear Hufflepuff.

Mrs. Madge Kendal [ESFJ]

Mrs. Madge Kendal is a charming and kind-hearted woman who as one of the most famous actresses of her time knows how to warm a crowds hearts, most especially her dear friend and admirer John Merrick. Kendal is a generous soul, as shown in presenting a one of a kind autographed portrait of herself to Merrick as a gift, and also later lends one of her dresses to Nora, one of Merrick’s nurses, to wear to the theatre. She’s bolder and more impulsive than Merrick, as shown when the shy John is reluctant to play out the kissing scene from Romeo and Juliet as he expects Mrs. Kendal to be too disgusted by his appearance but she boldly throws herself into playing the role and doesn’t hesitate to kiss him. She is affectionate and affirming with her words as shown when she says: “Oh Mr. Merrick, you’re not an Elephant Man at all. (John): “I’m not?” (Her reply) No…you’re Romeo.” (Fe)

Though she admits she’s partial, Kendal has fond memories of her time in the theatre, calling it “…the most beautiful place on earth.” (Si) She bonds with Merrick over a reading of Romeo and Juliet and even remarks that the theatre itself is place of “romance” (Fe-Si)

Kendal is open-minded to new opportunities as shown when she reads about Merrick in the paper. She is fascinated with John, not for his deformities but for his intelligent and creative mind. (Ne) She is able to see beyond his hideous Elephant Man exterior and see him for the charming “Romeo” that he is. (Fe-Si-Ne).

Despite her optimistic and sometimes “rose-coloured glasses” view of the world, Mrs Kendal can step back and face reality, accepting when John is dying (Ti). Nonetheless she doesn’t hesitate to make her friend’s last moments on earth the most memorable that she can, as shown when she gives him a standing ovation during his first and ultimately last visit to the theatre. (Fe-Ti)

Hogwarts House: Gryffindor

House Traits: daring, nerve, and chivalry

Mrs Kendal definitely shows Gryffindor traits of daring and nerve, as shown when she’s around John Merrick. Due to her talents as an actress, she is able to put aside any visible signs of fear and disgust over Merrick’s deformed exterior and as a result is able to see him for the charming and intelligent man that he is. She is even daring enough to kiss him over a reading of Romeo and Juliet.

Her charm shines through to everyone around her, and she’s not afraid to use her chivalry for good of others, most especially for her friend John. 

Mr. Francis Carr Gomm [ISTJ]

Mr. Carr Gomm is the Governor of the London Hospital. He is a traditional man who strictly follows the rules of the hospital, something he doesn’t hesitate to remind Dr. Treves of when he brings John Merrick “an incurable” into the hospital. (Si-Te)

Carr-Gomm has enough common sense to see through John’s act that Treves prepared with him, due to John’s inability to answer pre-prepared questions and the limited amount of time Treves had to prepare for the interview.

He is an organized and efficient leader and takes his duties as Chairman of the Board very seriously. Rather than defend himself, he lets evidence speak for itself, such examples are shown when Mr. Bytes threatens to go to the authorities if Treves doesn’t give John Merrick back to him, Carr Gomm defends Treves with his reply:

“Go to the authorities then! Go to them by all means! I’m sure they’d be very interested to hear your story as well as ours.”

He’s says this knowing fully well that Bytes will be in just as much as trouble as them for freak shows were illegal in Britain, not to mention Bytes’ abuse of Merrick would also put the law on their side. (Te)

Another example is shown when one the Governor committee members coldly refuses to house Merrick “a circus animal” in favour of the rooms being saved for “the sick”. Instead of talking him out of his decision, Carr Gomm brings in Princess Alexandra with a letter from Queen Victoria thanking the hospital for caring for one of “London’s most unfortunate souls”. This influence ultimately changes the committee’s mind, as well as their most vocal opposer.

He’s a pragmatist, as shown when John gets kidnapped, he reminds Dr. Treves that his services at the hospital are needed and that trying to find Merrick would be fruitless as Bytes has fled with him and that he’s done everything in his power to help him:

“There’s something I’d like to tell you, Treves. You know I felt as deeply as you did about John. Well now he’s disappeared, very likely the continent. There’s no question of your going after him. You’re desperately needed here by your patients. You did everything in your power. Remember that Treves. Everything in your power.” (Te-Fi)

Despite being a strong stickler for the rules, Mr. Carr Gomm is not above natural human compassion. After seeing the state of Merrick’s condition and the results of years of abuse, e.g. his inability to communicate properly with others out of fear, hiding his true intelligence in the process, Carr Gomm can’t help but feel a deep pity for John:

“Can you imagine the kind of life he must have had?” (Treves): “Yes, I believe so.” (Carr Gomm’s reply)“I don’t believe so. Nobody can possibly imagine it, I don’t believe any of us can.” (Fi)

Carr Gomm is open-minded when he needs to be. When he first hears of John’s situation he recommends that Treves puts him into a housing facility for the disabled as an alternative. Eventually he and Treves becomes John’s strongest supporters for housing him in the hospital (Ne).

Hogwarts House: Hufflepuff

Values: hard work, patience, loyalty, and fair play.

Mr. Carr Gomm portrays the Hufflepuff values of hard work and patience in his work as the Governor of the hospital, and in dealing with Treves and his work with John. While he is very firm about following hospital rules, he is eventually willing to make allowances for John’s case to be homed at the hospital because he believes it’s the best thing for him, and shows his deep loyalty to cause as a result.