#oscar could kill him when he says that to morris

[noxexistant]

consider. modern au. medda briefly fostered the delancey brothers and was the most safe + positive environment they’ve ever had, but then she surrendered them in order to adopt jack. and that’s a big chunk of why they resent him so much.

[sparkedblaze]

modern morris meeting katherine for the first time. she’s sat at medda’s kitchen table painting her nails, surrounded by a sea of little bottles of pretty colours. shiny ones, and glittery ones, and ones that are just bright colours. lots of different pink ones. she’s got her long ginger curls tied back out of the way, eyes narrowed as she focuses. she’s really pretty.

one of the other boys prickles, noticing morris staring at her. “hey. don’t you dare even think ‘bout starting anything wit’ a girl.”

“jack’ll kill you,” another adds, glaring. “you better leave kath alone.”

katherine scoffs, giving them both a withering look. “i don’t need you defending my honour, thank you very much. or jack, for that matter.” she turns her attention to morris then, and it’s only her that notices morris isn’t really staring at her - he’s staring at her nails, at the tiny brush in her hands painting strokes of deep green onto her neatly manicured fingernails.

“do you want to come over here to watch?” she offers, gesturing at the chair beside her. morris tentatively does so, sitting on the chair with his knees pulled up to his chest, holding a ratty pink blanket tight in his arms. he looks fascinated, rocking slightly as he watches kath work. katherine, finishing up her own nails, dares to venture a little further. “would you like me to paint your nails too?”

she doesn’t know much about morris. she’s received warnings from jack and the others, of course, heard jack’s stories - but she’s always been more interested in doing her own research to form opinions based on. she’s always been open with and kind to any of jack’s foster siblings, and she’s firm that the delanceys will be no exception unless or until they prove themselves worthy of being so.

it’s hard to believe that morris could be, when he tentatively offers katherine one of his slightly trembling hands, and flinches when she takes it despite how gently she did so. she smooths her thumb over his scarred knuckles as she looks over his bitten nails.

“what colour would you like?”

Morris says nothing, just uses the hand holding his blankie to point to a particularly glittery pink bottle, chewing on the pink bumpy necklace around his neck.

He looks back up at Katherine with wide eyes, chewing even harder when she looks up at him with pursed lips. He isn't allowed to have that one. That one's for girls. He can't-

Katherine holds her hands up, trying to make sure he stays calm, eyes locked on the hand he'd yanked away. "Hey, hey, it's okay... I just wanted to tell you that it won't show up very pink on your nails. It's just pink glitter..."

Morris lets out a soft whine, pointing at it again.

"I have an idea," Katherine smiles conspiratorially, pulling a pale pink from her collection. "We can do this one first, and then when it dries we can paint the glitter on, too."

Morris's eyes go wide when she says that. "Bo'f?"

The boys sitting around the kitchen stop, eyes landing on Morris.

Katherine hears the chatter around the room stall, sees Morris squirm under the scrutiny, and turns to glare at the boys. "Hey, cut it out."

Their eyes move away as quickly as they'd moved to Morris.

She turns back to him with a smile. "Ignore them, Morris, it'll be alright. You want two?"

Morris nods, eyes alight with glee. "Yeah."

She gently takes his hand again, shaking the bottle of the lighter color. "You ready?"

He nods again, fingers wiggling in her hand.

"You've gotta try and keep your hand still, okay? I don't want to get it on your skin," Kath smiles kindly, brushing her thumb along his knuckles.

His eyes are wide, and more than a little upset.

"It's alright, just let me know if you want to move, okay? I'll let you go and you can move around," Katherine smiles broadly at him, and the boy matches it, just as excited.

They sit there for nearly an hour before Oscar barges in, demanding to know where Morris is. Katherine watches as Morris waves, noticing that he's trying very hard not to let Oscar see the paint on his nails.

" 'M righ' here, Os," Morris smiles, teeth still clamped around the chewelry he has. "Watchin' Kath paintin' nails."

Oscar's eyes narrow, looking over the spread. "Whose nails is she paintin'?"

Morris hesitates, panic seizing him for a moment.

"I'm painting Morris's," Katherine looks up at Oscar with raised eyebrows, daring him to say something.

Oscar looks between them, pursing his lips. "He ask you to?"

She nods, and Oscar holds his hand out to Morris. "Le'me see, Mo."

Morris stares at the floor as he holds his hand out to Oscar, shaking as Oscar takes his hand, inspecting the color on his nails.

" 'S pretty, Mo. You just leavin' 'em like this?"

"Mm mm," Morris shakes his head, bouncing in his seat again. "She gon' put sparkleys on 'em!"

Oscar smiles, looking over the colors, reaching out for a bottle of a dark, dark blue. "Me next, Katherine?"

Once again, the room falls silent, but the trio at the table neglects to notice.

"Of course, Oscar," Katherine is surprised by his want to join them, but she sees the look on his face as Morris lights up.

"We gon' match?!" Morris is practically vibrating with excitement.

Oscar's small smile breaks into a full on grin at Morris's reaction. "Yeah, Mo, we're gonna match."

[daveyfvckingjacobs]

Please may I hear more about Fox? Always enticed to hear abt people's OCs👀👉👈

fox fox fox fox!!!!

I am so here for ocs who aren’t newsies and think there should be more of them so that’s why he exists :]

in basic terms he’s a pickpocket/fist for hire, though he makes most of his living off the former. he’s pretty friendly with oscar and morris, having spent some time in the refuge with them when he was ten (originally he was shipped with oscar but I much prefer aroace oscar so now he’s just the annoying friend who hangs around the tills when you’re trying to work at spar or smthn, and shipped with a friends oc)

canon era fox uses just he/him, modern it/he, in both simply identifies as queer and is nineteen. he’s a relatively laid back kind of person, usually more quick to poke fun, goad and be infuriating than start physical altercations when he doesn’t have to, but he’ll do anything if he’s paid, but very selfish. he only looks out for himself. he likes to hang around the circulation gates every morning to piss of the newsies by stealing from them (before usually getting chased away) and morris and oscar basically tolerate him half of the time, though they have a sort of deal going: they involve him in their side jobs and he splits some of what he makes thieving (they’re closer in modern tho, having spent longer together in care than the short refuge spell)

he pretends the the name fox comes from his personality (which fits him to a t, so no one questions it), but in reality it was a misunderstanding. when he was in the refuge, he got beat pretty bad by the cop that arrested him and it left his mouth very swollen, so he couldn’t really speak properly. when asked his name, he tried to say felix but it was misheard as fox and he was too tired to correct anyone. by the time he go out fox had stuck, and he prefers people not knowing his real name because it’s all he has left of his folks and he likes that being private

he had a father, mother and older sister who were all killed in a fire that went through his building when he was seven. he misses them immensely but one talk about it to anyone (even bullseye, his partner) and has spent the rest of his life on the street. for a while between seven and ten he was with my group of other ocs who set him on a track he could have avoided (a gang of sorts, led by kingfisher) and learned a lot of little survival tricks from them, but left sharpish because he realised how twisted it was, encouraged by soap. the rest of his pickpocket skills he taught to himself because the damage kingfisher and his lot had done was permanent

I love talking about him sm he’s my fav oc my horrible little guy aah

[rivwritesiguess]

Not Scared Anymore

Word count: 1685

Hurt/Comfort

Platonic!Newsies x reader

Navigation

_ _ _

  “Y/N! We’ve missed you, where’ve you been?” Y/N groaned internally. They had seen the Delancey twins this morning, and the day before, and the day before that, and every single time they say the same thing. The two knew it annoyed them, so they took advantage of it. Y/N turned away from the direction they were walking in, holding up a newspaper and calling out a fake headline. 

  “No need to be so cold, ya know,” Oscar said. Y/N continued to ignore them, not looking back at the two as an older man exchanged a paper for a penny. Y/N thanked him as he walked away and he only grunted in return.

  “Look at you go, selling those papes so quickly. We’re so proud of you.” One of the two put his hand on top of their head, shaking their hat around before taking it off and tossing it over to the other. Y/N sighed.

  “Just give me back my damn hat, Delancey,” They said once they had turned around. Morris shrugged, spinning the hat with his finger.

  “If ya want it back so bad, you’re gonna have to fight for it,” He said. The two brothers shared a laugh as Y/N tried to grab the hat, only for it to be tossed to the other.

  “You heard him, Y/N. Can’t make any exceptions, even for you,” Oscar said. Y/N huffed, turning around and walking away. They didn’t need their hat to sell the paper, they’d be just fine without it. And they did. They sold two papers in the next twenty minutes, glad to see the twins hadn’t followed them. However, the second they felt the relief, an annoying voice came from down the road.

  “Could you imagine walking away from a fight, Morris? I think that if someone does it says quite awful lot about them, what about you?”

  “Oh, I completely agree. I think it means that they’re a wimp, and they know they can’t win.” Y/N turned to tell them to screw off, only for Oscar to pull the papers out from underneath their arm and throw them to the side. They tried to go after them, but the two brothers blocked their path. Right as they exchanged a sinister glance, someone else butted in.

  “Delancey!” Jack called. The three looked over to see Jack storming over, David behind him with an obvious look of ‘I have to make sure he doesn’t kill anyone’. Further proving the theory of what the look meant, he grabbed Jack’s arm once they had got there and pulled him back slightly, not having the slightest trust in him. “Get the hell away from dem.” 

  “When will you learn to mind your own damn business, Kelly?” 

  “Once you two piss off.” Oscar scoffed, shaking his head. Morris rolled his eyes. He turned back to Y/N as Oscar started walking away.

  “Times gonna come when he doesn’t get here in time, and trust me when I say that both of us are looking forward to it.” He shoved the hat to Y/N’s chest, taking a final chance to glare at Jack before catching up with Oscar. As Y/N put the hat back on, Jack turned to David.

  “No, Jack.”

  “Yous saying those dicks don’t deserve it?”

  “I’m not-”

  “Let’s not argue about this,” Y/N spoke up before anything could escalate. Of course, it wouldn’t escalate too badly, but Y/N didn’t feel like hearing the two bitter back and forth while trying to sell the rest of their papers. They bent down, picking up the papers the Delancey’s had thrown to the ground. They groaned once realizing that none of the papers hadn’t fallen into the puddle, meaning they couldn’t sell any of them. No one wanted wet papers.

  “Dammit, Y/N, sorry we couldn’t get here any sooner,” Jack said as he and Davey helped pick up the soaking paper. Y/N shrugged.

  “It’s whatever. There’s always tomorrow.” Of course, both Jack and David knew that it wasn’t whatever, considering the money Y/N just lost and the small bit of dignity, but they didn’t say anything. The three walked back to the lodge house, Jack and Davey having already sold all their papers, throwing the wet papers away along the way. They walked in to see a few others had already returned, including Crutchie, Race, Specs, and Romeo. 

  “You three have already sold all your papers?” Jack said, skeptical of all of them aside from Crutchie. Race placed a hand over his heart, feigning hurt.

  “Course we did, Jack, what do yous think of us?”

  “I don’t think you’d want to hear that answer,” Crutchie said, laughing at Jack’s nod to agree with his statement.

  “Hey, Y/N, what is yous doing back so early? Thought you liked to go watch the fishes or something?” Specs asked.

  “Yeah, Y/N, what’s up?” Romeo asked, not seeing the glare that Jack had sent Specs. Race, however, did.

  “It was them Delancey’s again wasn’t it?” He said, standing up as he rolled up his sleeves. “Two need to learn a lesson.” David grabbed Race’s bicep as he walked by him.

  “Go sit down.” Race groaned, turning around.

  “This is why no one likes you, Davey,” Race said as he fell back into the chair.

  “That ain’t true!” Crutchie said. “I like you, Davey, you’re a cool guy.”

  “Ok, everyone shut up,” Y/N said, making sure not to look at Crutchie when she said it, considering it was directed towards everyone aside from him. “Yeah, I had a run-in with the Delancey's, wasn’t a big deal. Got out of it without a scratch, no need to make a big deal over it.”

  “Y/N, the only reason you did was because Davey and I showed up at the right time.” Before Y/N could protest, David had to interrupt.

  “He’s right, Y/N.” Y/N sent a glare toward David, who sent an apologetic look back.

  “Hows about we teach you some tricks to help yous out when those pricks are around, might help you out a bit?” Specs suggested. Race lit up at the idea.

  “Oh, please say yes, I’ve been dying for an excuse to beat Romeo’s ass after he stole my customers from me last week.”

  “I didn’t steal shit, you’re just a lousy newsie.”

  “Oh really? Y/N, watch this.”

  “Shut your traps, both of yous,” Jack interrupted. He turned to Y/N. “That ain’t too bad of an idea, though, you wanna try it?” Y/N shrugged.

  “Don’t got anything better to do.” The second after they said it, Race jumped onto Romeo, calling for Y/N to watch and see how it was done. Jack groaned, pulling Race back.

  “Dumbasses.”

—

  Y/N had finished selling their papers for the day, walking back to the lodge house to meet with Crutchie for a game of War. As they walked, they got the sense that someone was following them, but decided it’d be better to just ignore it. So they did. Until someone grabbed them by their arm, pulling them into one of the many alleyways in Manhattan. Y/N quickly regained their balance to turn to see the Delancey brothers standing there, smirks on their faces.

  “Think you’ve been avoiding us, haven’t you?” Morris said, stepping forward. Y/N rolled their eyes, going to push past the two. Right as they tried, a punch was given to their right cheek, leaving a stinging pain that Y/N could only assume was from the ring Oscar was wearing.

  “You don’t get to leave after you’ve been so disrespectful. It’s time for you to pay up.”

  “Look, I don’t want any trouble, ok? I just want to get back to the lodge house and go to sleep.”

  “Should’ve thought about that before you changed your selling spot without us knowing.” Before Y/N could respond, the two stepped forward, swinging hits at them as they backed up. Once they hit a wall, fear struck them knowing they had nowhere else to go. Another punch landed on their stomach as well as their jaw. They ducked down as the next one was sent their way, kicking Oscar in the stomach causing him to fall back. Morris tried to take the chance to grab Y/N’s leg, but Y/N lowered it quickly enough and pushed him away. Seeing as both of them were now on the ground, Y/N went to run away before they could get up. However, Oscar grabbed their foot, causing them to fall to the ground, scraping their knees and elbows. They flipped over onto their back, kicking back at Oscar as he tried to grab them again. They threw a punch at Morris, who hadn’t been expecting it, and he stumbled back. Getting back on their feet, Y/N turned and sprinted the next few blocks. They got to the lodge house, where Jack was outside. Jack saw them coming and his expression changed, turning away from David and coming over.

  “Hey, hey, what happened?” He said, putting his hands on their biceps. Y/N was breathing heavily, shaking their head. “Y/N, are you alright?” Y/N nodded, and it sounded as though they were crying. “Y/N, talk to us, come on.” Y/N looked up, showing the cuts on their face, along with a smile.

  “You should’ve been there!” Y/N exclaimed. Jack looked back at David, confused. “They had cornered me in an alley but I fought back! I kicked them and hit them and got away!” 

  “Are you talking about the Delancey’s?” David asked. Y/N nodded, jumping slightly at their excitement.

  “You should’ve seen their faces! They were so confused, they didn’t know what hit ‘em!” Jack chuckled.

  “Hell yeah, Y/N, wish I could see them now,” Jack said, smiling down at them.

  “Yeah, but are you ok, Y/N? You’re bleeding,” David said, reaching up to assess the cut on their cheek. Y/N rolled their eyes, pushing his hand away.

  “I’m fine, Davey, never been better!” 

  “How about we goes inside and tell everyone about how you beat their asses?” Jack said. Y/N nodded.

  “Hell yeah!” As Jack and Y/N turned and ran inside, David rolled his eyes, laughing himself before following behind them.

[racetrackhigg]

Hunger Games AU

kinda

thank you so much to @bitchiaintanonymous for helping me with this!!! she wrote all the descriptions of the districts and she helped me figuring out stuff for the characters!

also i wasn’t supposed to make morris’ moodboard, but i didn’t realize until too late- so whoops

please don’t let it flop ive been working on this literally all day akdhsksbw

!!! TW: DEATH (kinda graphic? i mean i say how they died but that’s it), ABUSE, CHILD ABANDONMENT, MENTIONS OF STARVATION !!!

please don’t continue reading if any of those things trigger you

District 1: luxury

They produce jewelry and the people take pride in living there because of it. Most of the people from there are named after expensive material like “Cashmere” and “Glimmer” and as you know, they train and volunteer for the games so they have a higher chance of winning.

Oscar Delancey

Morris Delancey (died)

Morris lived with his uncle and his brother

He had a fairly privileged life, living in the richer side of the district.

However, his uncle was an abusive drunk and he usually took the hits from him to stop his brother from getting hurt

He trained for the games his entire life and eagerly volunteered to be a part of them when he was 17, hoping that if he won it would mean him and his brother could get away from their uncle and have a better life

Sadly, he died during the games by being stabbed in the back by the one and only Jack Kelly

He made 2nd place

District 2: Masonry and Defense.

These people work on weapons for peacekeepers and even have a training center for the peacekeepers, and they also volunteer for the games. It’s illegal for them, but because they’re so buddy buddy with the Capitol, they’re let off. They usually have Ancient Roman and Greek names.

Romeo (victor)

Romeo grew up having a somewhat decent life

Hs mother died when he was young, so he lived with his father and younger sister (who’s only 5 when he goes to the games) (he’s 15)

He trained for the games since he was young, and at first. he wanted to volunteer

However, as the reaping came near, he was starting to regret his decision, especially after overhearing some of his friends talk about the true horrors of the games

His dad threatened to kill him himself if he didn’t volunteer, claiming he would rather have no son at all than one who was a coward

So Romeo was forced to volunteer

Jojo (his mentor) becomes like an older brother or even father figure to him

Jojo de la Guerra (former victor, died)

Jojo lived in the poorer side of the district

He used to work a lot in weaponry to provide for his family Jojo was 17 when he participated in the games, and won

He was 22 when he mentored Romeo

And 23 when he died

He “trained” for the games for years, but unlike Romeo, he never volunteered

By “training” i mean that he was just a sparring partner for people who wanted to volunteer for the games

Because of this, he just picked up different fighting techniques over time

Unlike most people in that district, he hated the games and was not eager at all to be a part of them

He was assigned as Romeo’s mentor

At first, Jojo thought he was just another cocky kid who was overconfident he’d win

But then he actually met him. and realised Romeo didn’t want this

He made it his goal to make sure Romeo would get out of the games alive. After all, he was just a kid.

He was killed by peacekeepers after trying to protect Romeo. Pulitzer wanted to prostitute Jojo, and he refused, so as a warning they went to kill Romeo, but Jojo managed to stop them the cost of his own life

District 3: Technology.

They produce technology and electronics for the Capitol and usually use their knowledge of that in the games. They’re really smart and in the 10th Hunger Games, it’s said that a district 3 tribute hack into a drone that delivered supplies to use for themselves (doesn’t work that great cause they get killed though) but they’re still really smart.

Antonio “Racetrack” Higgins (victor)

Race never met his mother, She died a few days after he was born

So he was raised by his father

When he turned 6, his father started drinking

When he turned 7, he started hiring him

He met a girl named Sarah after trying to steal from her, and instead of reporting him to a peacekeeper, they actually became friends over time (even though Race was 2 years younger than her)

He often went to hide at the Jacobs’ house when things got too bad at home

Just a year after David volunteered, on the next reaping, Sarah’s name was called

So Race volunteered. (he was 16)

The jacobs’ had already done so much for him, and Sarah didn’t deserve to go through that, chances were she wouldn’t come back alive.

Race knew he probably wouldn’t either, but he had nothing to lose. He wouldn’t be leaving any family behind, because the man that called himself his father was not his family.

David was his mentor.

Much like David had before him, Race used parts of traps to make his weapons better, though he mainly used a bow and arrow.

For most of the game, he made a truce with a guy named Albert from district 4, and they became /very/ close.

He was killed by a guy from district 6, Finch, who was also the last person remaining apart from him.

Race killed him by shooting an arrow directly in his heart. It’s the only kill he doesn’t regret so much.

David Jacobs (victor)

David lived with his parents, twin sister and younger brother.

He was especially close to his sister.

His father got sick and died a few years later, when he was 15, so he had to work extra hard to help support his family

When he turned 17, his worst nightmare came true and his younger brother, Les was selected for the games

He volunteered to save his brother, and was determined to make it back alive, wanting his family to have a better life.

He trained a lot in physical combat, since he knew that without at least a somewhat proper training, he wouldn’t stand a chance.

Once in the games, he spent most of his time trying to avoid other people, not wanting to kill anyone else and not wanting to risk his own life.

However, he ended up having to kill a boy from district 10, Mike, to save his own life using a makeshift explosive he made out of parts from a trap he disarmed (or however it’s said).

He wins by tricking the last person left, Itey, into eating poison berries.

He never forgave himself for the lives he took, and it’s something that would always haunt him.

Just a year after that, he became Race’s mentor.

District 4: fishing.

First off, people say that this district had the most “decent-looking” people. As you may have guessed, these people specialize in “aquaculture” It sounds useless, but a character named “Mags” actually won her games because she was the only one able to swim the longest when the arena was flooded. They also use tridents and things like that and volunteer as “Careers” too.

Albert Dasilva (died)

Albert came from the more poor side of the district

He lives with his father, who fell ill a few weeks before Albert was selected for the games.

He’s only 16

He never really trained for the games, unlike many people. He didn’t have the time or money for that.

One of his friends, Sniper, promised to take care of his father while he was gone.

Albert knew he probably wouldn’t be coming back.

Early in the games, he befriended Race, and they survive throughout almost the entire games together.

He knew one of them was going to have to die, but Albert decided to ignore that. He was going to find a way around it.

However, while Race went out hunting, the only other tribute left strangled him to death and stole all their supplies.

He never made it back home to his father.

Sniper (victor)

Sniper was an orphan

Her family abandoned her when she was 5, and she lived in the streets for a short while until a kind man took her in

It was Albert’s father

When she got older, she started working to make her own living

Albert became her best friend, despite being 4 years apart. He became almost like an older brother to her.

Her best friend, almost brother, got sent away for the games and never returned.

Sniper moved back in with Mr. Dasilva to take care of him as he fell ill, and his son was no longer there to take care of him.

He got better, eventually, and was horrified and heartbroken at the news of his son’s death.

A year after his best friend was sent away to die, she got chosen for the games.

She vowed to make it back alive, no matter what.

She learned everything there was to know about the plants of the arena. She was already good at combat.

She won by poisoning the last other tribute.

Much like David, Sniper was never able to forgive herself for the lives she took.

District 5: power.

They specialize in providing power for the Capitol with electricity (they power homes and stuff so not technology like in district 3). They’re pretty smart and they use the coal district 12 mines to generate the power.

Specs

Itey (died)

Itey lived with their parents

They were an only child

Their life was pretty good- at least their family life

They were pretty poor, but still better off than a few other people, so they were grateful for what they had.

They were chosen for the games when they were 15

Their parents prayed Itey would make it back alive, but they knew it was unlikely, since he had no training whatsoever

They were right

Itey almost won, but they were starving, and didn’t know that the berries were poisonous

They came 2nd

District 6: transportation

The tributes shown from here are actually pretty nice and cool. During the 75th Hunger Games the tributes were nicknamed “morphlings” because of their addiction to the drug. The male tribute didn’t do much, but the female tribute sacrificed herself for Peeta and jumped in front of an animal that was trying to kill him.

Finch Cortez (died)

Finch lived with his younger brother

His parents died when he was relatively young (12 years old- his brother was 9) but they managed to scrape by

He started working pretty young to make sure his brother could have a roof over his head and not starve.

He was 17 when he was selected for the games, his brother was only 14

He was terrified, but determined to come back home to his only family

He made it to 2nd place

He was killed by an arrow straight through his heart.

Tbh if Race would’ve known Finch had a family to go home to, he would’ve eaten poisonous berries and let him win

Skittery

District 7: lumber.

They specialize in forestry and wood and paper and all that. They are strong-willed and hard headed, and don’t have many qualms about killing people. but more or less are loyal depending on the situation.

Sean “Spot” Conlon (victor)

Spot was an orphan

Well, kind of

He lived with his parents up until he was 10, when he ran away

They were both abusive and manipulative, and he knew if they kept this up, he’d end up dead

After he ran away, he made friends with a guy his age named Hotshot.

Hotshot had the perfect family. Loving parents and a younger sister.

Honestly, Spot was jealous

But they became quick friends, and Hotshot’s parents let him move in

Hotshot nicknamed him Spot because of the cigarette burns across his arms and back

He was 17 when he was selected for the games

Surprisingly enough, he didn’t think he’d come back

Because as strong and as much of a skilled fighter as he was, there were people out there that had been training for this their whole lives.

However, he managed to win. Had a pretty big kill count too- not because he wanted to, but because a surprising amount of people went after him. He had many good supplies and they wanted them.

The last person left apart from him was Buttons.

He won by bashing his head against a rock and then pushing him off a cliff for good measure.

In his defence, Buttons had tried to push him off a cliff first. Spot just took his chance.

Hotshot

District 8: textiles

Clothing. They fight for what’s right, and we’re actually among the first to rebel against the Capitol and follow Katniss, which, sadly, also made them the second most targeted district (the first being district 12 which was outright destroyed) A leader from district 8 actually became president after Katniss killed this woman named “Alma Coin” (the president of district 13)

Buttons (died)

Buttons lived with her younger brother, Elmer, and their parents

She was only 14 when she was selected for the games

She knew she wasn’t making it back

However, she let her hopes up w hen she was one of the only two left, and was a bit more careless with her actions

This is what led to her the death

Elmer

District 9: grain.

They specialize in grain, and salts. It’s the least mentioned of the districts, there is no known character mentioned from here, and all that is known is that both tributes died in the initial bloodbath

Henry

Smalls

District 10: live stock.

Believe it or not, no one except a crippled boy is mentioned from here. This is the second least mentioned one, it’s only known that a refugee from here told Katniss about district 13 so we can assume they know their rights and wrongs.

Mike (died)

Mike lived with his twin brother and parents

He was 15 when he was selected for the games, and he knew there was no chance he’d make it back alive

He was right, since he was killed by David, after trying to kill him and steal his supplies.

Ike

District 11: agriculture.

Common traits of this district are “dark skin and brown eyes” They are heavily abused by the Peacekeepers and are the most brutal treated ones. Their electric fences are activated 24/7, they have extreme knowledge of herbs and foods. Again, security here is greatly unforced and there are a lot of harsh measures like summary execution. (an execution where someone is accused of something and is immediately killed without a fair trial) It was one of the first districts to rebel, it was their response for what happened to Rue (a former 12-year old tribute who was Katniss’ ally and was killed during the games).

Graves

Rafaela

District 12: coal mining.

This district is divided into housing areas. The Seam is where people who work in coal mines live, and the others are centered around “The Square''. People from The Seam generally have dark hair, grey eyes, and olive skin, and the others have blond hair, blue eyes, and fair skin. Katniss and Gale are from The Seam whereas Peeta is a bakers son in the town. District 12 is the poorest out of the districts, and starvation is a big issue, and because of this, the Capitol usually bends the rules a little by turning off the electric fence surrounding them so people can go hunt for food for their families or sell their catches to the black market for money. District 12 is known for having only 2 victors in the history of the games before the 74th. A female named Lucy Gray Baird who died before the events of The Hunger Games happened, and Haymitch Abernathy. This is why the district is usually a laughingstock and volunteering for the Games is seen as suicide.

Jack Francis Kelly (victor)

Jack’s parents gave him up at a very young age, when he was only 2 years old

They sent him to live with an old family friend, William Snyder

Snyder was horrible to him.

He constantly abused and starved and neglected him, treated him more like a slave than anything else.

Jack had to balance doing whatever Snyder said and also making his own food and money by working so he could eat

When he was 14, his parents came to visit. He didn’t recognize them, and he didn’t know who they were until the end of the visit- when they were leaving

He was both hurt and furious

Although he was miserable and his life sucked, he did manage to make a friend

Crutchie

He was 3 years younger than Jac k, and his leg was injured beyond repair in a mining accident

When he heard Crutchie’s name at the Reaping, he immediately volunteered

Unlike him, Crutchie had a family. People who loved him.

Jack had nothing to lose

He didn’t expect to come back alive, he wasn’t sure he wanted to.

Multiple people tried to kill him throughout the game, thinking it as a fun game since he was of the “worse” district

Jack won by killing Morris

He didn’t know he had a brother, if he did, he wouldn’t have done it. Jack didn’t have anything to come back to, Morris did

He found out about this and his situation a day after his victory.

He was horrified, knowing he killed a man that was just trying to help his family.

Jack didn’t have a family. He just took a poor kids only family away.

So he made sure Oscar was away from his uncle and safe

It was the least he could do.

He was never able to forgive himself.

Charlie “Crutchie” Morris

District 13: nuclear weaponry.

Before they were “extinct” they made and built nuclear weapons for the Capitol, but after they tried to rebel, they were bombed and became “extinct”. In reality they lived underground and struck up a deal with the Capitol, that they’d be able to live in hiding, and in return, they would not rain war on the Capitol. Every food ration is cherished in this district and everything is very orderly as to not rouse suspicion. The lifestyle is very strict because of the circumstances. District 13 is the center for the rebellion in the books, and is where Katniss and everyone planned out the war between the districts and the Capitol.

Mush Meyers and Kid Blink

Blink came from district 12

He was an orphan, and his only family, his younger sister, died from starvation when he was 17, soon turning 18

She was only 10

Not even a year later, Blink snuck out of his district, except instead of just going hunting, he ran away.

He narrowly escaped a peacekeeper finding him

After a few days of being completely alone, he ran into Mush Meyers, who (slightly reluctantly) took him into his distract (he got into a shit ton of trouble for that)

However, Blink was allowed to stay.

Eventually, they got together (because we all need some Blush in our lives)

Capitol

Katherine Plumber

[somedayonbroadway]

hii it’s me again and im obsessed with the nerve au- i was wondering if you could do a sprace version, please?

Hi, love! Of course I can! Sorry, this is so late :)

Characters

Racetrack Higgins (@racer) — Vee

Spot Conlon (@kingofbrooklyn) — Ian

Jack Kelly — Tommy

Albert DaSilva (@redhotal) — Sydney

Kid Blink (@ublinked) — Ty

JoJo De La Guerra — Wes

Crutchie Morris — Liv

Oscar Morris — JP

Katherine Pulitzer — Hacker Kween

Okay so…

Race is a foster kid. For most of his life, the poor boy did his best to fade into the background, to be the perfect, adoptable child. He avoids risks, he keeps to himself and the few friends he has. He doesn’t want to lose a spot at the table. He doesn’t want to put himself out there. After all, his parents were everything he wasn’t. They’d had him young. They took risks. They went on adventures. And one day, they never came back.

Even after Race is placed in a good foster home, even after he meets his foster brothers and mother and feels like he’s part of a family, he’s still scared to step outside of his bubble of comfort even though his brothers were a bit more social. Race was adopted right before he started high school. He was fourteen. Jack was fifteen and Specs was seventeen.

Three years later, they were hit by a drunk driver. Specs didn’t make it.

Race’s senior year wasn’t quite the same after that.

Race wants to travel. He wants to go to culinary school in Italy. So he applies. And he gets in. But he doesn’t accept the application. He’s terrified to leave Medda and Jack alone without Spencer. The pain hasn’t quite faded yet.

After seeing the acceptance letter, Race sets it aside before school and goes online instead, stalking a boy online that he’s had a crush on for years. Oscar Delancey. Jack thinks he’s a jerk. Race thinks he’s misunderstood.

That’s when his best friend FaceTimes him. Albert DaSilva has been Race’s best friend since he was first taken into Medda’s place and he is always looking for some extra attention. Race doesn’t mind so much, but sometimes it can get exhausting.

Albert tells Race to stop stalking Oscar on Instagram and, instead, sign up to watch Albert play Nerve, an online game where people get dared and have to perform those dares for their “watchers” for money and fame. Race scoffs at the game and tells Albert that it sounds ridiculous before he leaves for school.

Jack drives him. Race tries to tell him about Italy, but he chickens out. Instead, he goes to school where Albert gets his first dare.

Race’s other friends, Crutchie and JoJo record Albert on his own phone as he runs across the football field during a rally, buck naked. To no one's surprise Albert is suspended later that day. Despite this, while out for milkshakes after school, Albert informs Race that he will still be playing Nerve in hopes of becoming famous.

Jack, who meets the other kids at the restaurant, tells Albert he’s being ridiculous. This causes Albert to turn the tables on Race and tell him he could never be a player on Nerve and then all of his friends vote on a date for him with Jack being the only no. They dare him to talk to Oscar, a simple task that will just push him slightly out of his comfort zone. Race chickens out.

So Albert does it for him, only for Oscar to tell him that he’s not interested in Race. Race stands and storms out and Jack stops Albert from following him, telling him that he just hurt his little brother and better think about what he’s doing next time before Jack decides to punch in the nose.

Race rushes back home where he finds that he never closed the Nerve window on his computer. He watches the video on his screen where he finds out the rules of the game. There’s only three:

1. all dares must be recorded on the player's phone

2. any earned money will be revoked if a player fails or bails on a dare

3. "snitches get stitches."

It’s sketchy as hell but Race has a point to prove. When the question comes up “Watcher or Player,” against all of the boy’s instincts, he makes a decision. Player.

Race is running down the stairs when Jack gets home. He has his first dare. He needs Jack to drive him to Jacobi’s Diner. Jack does, because Race asked him to. That doesn’t stop Jack from giving Race a lecture on how stupid he’s being. Still, Race is determined to prove he isn’t a coward.

His dare is to kiss a stranger for five seconds. Jack records it for him as they eventually find someone reading a book that Specs had read to him once when he was going through an insomnia spell. To The Lighthouse. Race kisses the other boy for a lot longer than he had to and eventually stumbles away says “thank you!” and runs back to Jack.

Jack tells him that he needs to quit now after Race gets one hundred dollars for playing the game. Race almost concedes before he hears someone singing. The boy he’d just kissed walks over to him and sings to him, asking him to run away with him.

Jack realizes it’s a dare and tries to pull Race up and out of the diner, but the boy sits with them and tells him that some kid brought him that book and told him to sit and wait. Jack comments that it sounds like he responds well to puppy commands and starts calling him Spot. Spot doesn’t correct him.

Another dare comes. The watchers want Race and Spot to run away together, run away to the center of the city. Jack tries to stop them. But Race didn’t know how much he was longing for an adventure until that moment.

Race rides with Spot on his motorcycle to a very expensive store in the center of Manhattan where Spot goes in before him and Race is dared to try on a very expensive suit that he looked very good in. He changes on camera. Jack watches him, terrified to look away as he tries to follow him and stop him from getting himself killed. Apparently some kid died in Santa Fe playing Nerve.

Race doesn’t listen to his warnings and continues to take dares with Spot until they are dared to leave the store after their clothes have been stolen. Race says he won’t shoplift, but Spot is insistent. So Race comes up with a compromise.

They run out of the store in nothing but their underwear. Their watchers get a kick out of it. One of them even buys them the clothes they tried on, letting them keep them.

Jack decides he’s watched for long enough and calls someone for help. A dear friend of his. Okay, it’s his girlfriend, and maybe she’s a little older than him, but hey, who’s keeping track? He asks her for access to the dark web and she reluctantly gives it to him. When he has access, he finds all he can on Spot, previously known as Sean Conlon, a kid who played the game in Santa Fe.

He doesn’t seem like an upstanding citizen.

Albert is trying his best to get into the top ten, to win the whole game, but his watchers won’t give him any real dares. He’s out with Crutchie and JoJo when they find out that Race is playing the game. Albert is shocked and a bit jealous at how fast Race is moving up in the game.

Becoming a pair in this game, Race is dared to get a tattoo of Spot’s choosing and, though terrified of getting a tattoo at the wrath of his mother, accepts the dare and lets Spot calm him down with some music while he gets the thing, to later find out that it’s a lighthouse, for To The Lighthouse. After Race manages to complete this dare, the watchers move forward with a dare for Spot. He has to get to sixty miles per hour on his motorcycle while blindfolded.

Race almost bails on him because of it, because he’s terrified, but Spot manages to convince him to help and Race guides him while they get to sixty in five minutes. They barely make it and then they almost crash, and then they kiss, feeling invincible.

Jack can hardly watch, fearing his little brother might die and then his mother calls, asking why the hell money is being deposited into Race’s account and where it’s coming from, so Jack has to deal with that while he’s still trying to look for his brother.

Spot takes Race to a carousel. They mess around on it while Race tells Spot about Specs, about how Specs was fearless, about how Specs pushed him to do things he would’ve never done otherwise. Spot tells him it’s a shame he never met him. He thinks they would’ve gotten along. Race agrees with him before Albert tries calling him.

Albert has been at a party with the rest of their friends. They’re all watching Race play Nerve live on a big screen. He sees Race reject his call. He hears Race call him annoying, frustrating, attention demanding. It hurts. And everyone else gets to hear it too.

Spot suggests they go to the party that Albert’s at to show everyone that he’s not who they thought, to show people that he got a tattoo and his own opinions. However, when they get there, they find that Albert has bailed on a dare after the watchers found out he was scared of heights. He nearly fell from a ladder suspended above ten stories.

He’s pissed that his best friend wasn’t there to talk him out of it. This sparks an argument between Race and Albert. Race eventually tells Albert to sign up and watch him from now on if he wants to know where he is. Then he accepts his next dare, to finish Albert’s. He walks across the ladder only to be met with his big brother who tells him that Spot set him up, that he took a dare to get him to the party to fight with Albert. Race shoves him away and finds Spot, demanding to know if that’s true.

Spot pulls him into the elevator and tries to explain. But Race won’t let him. He’s had enough. He runs out of the building. He finds a cop and tries to tell him about Nerve. He needs someone to shut it down. But he gets distracted by a call from his mother, telling him that everything they had was gone, that their savings had been drained and photos were showing up on her and Jack’s social media page that shouldn’t be. Before Race can respond, he’s knocked out cold by a player who has been around the whole time, someone Race suspected Spot knew.

When he wakes up, he finds himself in a metal cage with the words “Snitches get Stitches” scrawled out on the walls. A computer lights up and tells Race that he is now their prisoner. A prisoner of the game. A flash of Jack comes across the screen. Then one of Albert. Terrified, Race tries to break out only for Spot to show up and pick the lock for him.

Spot explains to Race that he’s a prisoner of Nerve too and that the watchers control his whole life, and not just that, they control his family’s life. His sisters and his mother too. The only money they get is money the watchers give them after they messed with his mom’s job and his sisters’ futures have been destroyed. He explains that they’re going to give Race an impossible dare and that they sent Spot here after him to finish it for him if he can’t.

Down the hall, muffled voices are heard and Race walks into a new room to find Jack and Albert tied up and gagged on chairs and a gun sitting in between them. He’s dared to choose who lives and who dies.

Race is obviously scared and refuses to choose, trying to bail, but Spot stops him, telling him that if he bails, he’ll be a prisoner until the game comes around again. He has to win to get out. So Race takes the gun and aims it at his own head, causing the watchers to tell him to stop. They need someone to control. So Race stops and Spot unties the other boys and helps them out finding a secluded parking lot to drop them off before he rushes off to complete his next dare, trying to make sure he was the one in the finals with Race instead of Blink, the other boy who he was made prisoner with after going to the cops when their friend died playing the game.

Spot takes the same dare that got his friend killed, hanging one handed from a construction crane. He manages to do it, putting himself in the finals.

Jack, Race and Albert pull together and form a plan, calling some backup in and going to The Cloud, a place Katherine often hangs out. He asks her and her hacker friends to try and gain control of the boys controlling the game and she does. Jack takes Albert there after Albert makes a call at a pay phone. They try to hack the game while Jack gets a call from his panicking mother whom he tells to meet him at The Cloud.

Race goes to the finals and is given another gun. When he sees Spot across this mysterious arena, he tries to run to him, having fallen for him over the course of all of these insane events, but the watchers tell them to stop and take their marks. The first to shoot their opponent wins.

Spot tells Race to shoot him in the shoulder. Race almost complies, but shoots the ground, telling him that he can’t do this. He tries to walk away but someone from the crowd says that he’ll take the challenge instead.

Blink jumps into the arena.

Medda gets to The Cloud just in time to watch the whole thing.

The watchers vote for Blink to shoot Race. And he does.

Medda can’t fathom the fact that she’s lost another child.

But Jack just tells Katherine to blow it up as Race falls into Spot’s arms.

Spot begs him to wake up as the anonymous players phones reveal their real names and tell them their accessories to murder. Everyone begins to sign off.

Spot cries over Race, completely horrified and tries to shoot Blink before Race shoots up in his arms, telling him that he was alright, that it was all fake. So Spot hugs him and begs him to never do that again.

But he’s so happy that he’s finally free.

Race immediately calls Jack and Medda and they cry together. So Spot takes him to them.

Jack and Medda encourage Race to go to Italy and Spot and him end up in a committed relationship. Albert and Race makeup and Jack is still overprotective as ever and they heal from the loss of Specs and are able to actually love on.

For more Mood Boards and AUs, click here!

[louisapennyfeather2021]

Can you do a Jack Kelly sister x race or Albert (up to you) and Jack finds you guys kissing and is about to kill race or Albert. Then you all sit down and Jack gives the classic dad talk. This could be plantonic Jack/ race or Albert love. (You also don’t have to make it a sister I’m just a girl myself haha)

I finally made myself do this, mostly because I said I'd have it done by Friday and that's in less than four hours, but I'll(hopefully) make it happen!!! Have I finished my essay? Of course not, but I did finished my math tests! Planned procrastination is somewhat effective, right?

Anywho, here it is!

Relationships: Brother!Jack, Reader x Albert

Pronouns: She/Her as the person who asked did clarify that she is a girl :)

(psst... I can always make this with they/them pronouns if anyone would like that)

A/N: This is definitely not my best work, but it's not bad!!! I always feel awkward trying to write Dad Talks, but never enough to not write them at all!!! Maybe it'll help that I'm awkward with it so it'll be projected onto my work haha!

Warnings: some kissing, a bad word or two. That's about it? Oh, also, I'm really bad at writing kissing stuff lmao

Setting: 1899 Duane Street Lodging House

***

"No, Y/N, you gotta wear ya cap right or ya gonna look like ya ain't got hair." Jack snatches Y/N's hat from off her head before flipping it and placing it on her head correctly.

"Jack, cut it out! Ain'tcha got somethin' better t' do?" Y/N swats at her brother's hand, ducking to avoid his mother hen behavior.

"He ain't got nothin' t' do cause he's too busy hoverin'." Crutchie snorts from where he sits on the front steps of the lodging house. Jack throws a half-hearted glare at Crutchie, which gives Y/N enough time to sneak past Jack and hurry down the street towards Newsies Square.

"Hey, where d'ya think yer goin'?" Jack calls. Y/N huffs and shakes her head before looking over her shoulder. As soon as she does, she takes off sprinting down the street, Jack chasing her down. Y/N squeezes past some of the guys that are making their way down the street, successfully managing to not completely shove Jojo into a walk on accident.

It's not unusual for Jack to be so overbearing, specifically with Y/N. Sure, he's oddly protective over all the Newsies, but he practically turns into a bear with Y/N. Jack says it's because she's his "baby sista' 'nd nothin's ever gonna happen to no sister o' mine."

Y/N understands to an extent, of course, but it makes some things, well, difficult. Specifically hanging out with friends. Or maybe someone who's more than a friend.

"Someone's rushin' this mornin'." Racetrack Higgins snorts as Y/N hurries to duck behind him and Buttons. Both wait outside the gates for Weasel to come open them. Albert leans on the gate opposite of Race, raising an amused eyebrow at Y/N. She playfully narrows her eyes at him before breathing a sigh.

"Just my parasite of a brotha'. Again." Y/N grumbles. Jack treats her like she's still a kid, when really she's just a year and a half younger than him. To some folks, that's a lot, but when you're forced to grow up on the streets of New York, it's just numbers.

"Ain't like he's doin' it for nothin'." Race scoffs a laugh, sharing a knowing look with Buttons before glancing between Albert and Y/N where she's still hiding behind the two smirking boys.

"Oh, shuddup. Jack ain't gotta worry about what he don't know about." Y/N glares pointedly at both Race and Buttons.

"Don't worry, I've kept Racer from hawkin' yer secret t' all of Manhattan." Buttons shoves Race's shoulder. Race squawks in protest and he starts arguing with Buttons. Y/N laughs, knowing Race would keep her secret no matter what. It's just funny to see Buttons get a rise out of Race.

"Could be worse. Buttons could'a taken his cigar." Albert chuckles, although he absentmindedly rubs his upper arm. He's learned the hard way not to take the blond boy's comfort object. However, that doesn't keep him from occasionally stealing it.

"You'd know how that turns out." Y/N sneaks behind Race as he argued with Buttons and stands next to Albert. She doesn't stand too close, especially since Jack is probably on his way with the rest of the fellas.

The last thing Y/N needs is for Jack to get suspicious of her and her relationships.

So Y/N just leans on the gate near Albert, both laughing as Race and Buttons start on a tangent. Eventually the others gather around, Jack and Crutchie being the last to actually show up. As soon as he's at the gate, Jack starts fussing over Y/N's hat again. She smacks his hand away and glares at him, receiving a horribly hidden laugh from Albert.

"Would you stop swattin', I'm tryin' t' make ya not look like a hooligan." Jack huffs.

"You know we're a bunch'a kids that sell papes for a livin', right? Hooligan is the nicest thing folks can call us." Y/N rolls her eyes. Jack opens his mouth to respond, but he doesn't get the chance. Instead, the sound of the gates rattling and snarky comments fills the air. Y/N turns to see none other than Oscar and Morris Delancey hesitantly opening the gates.

"What, no hello?"

"Wake up on the wrong side'a the cave this mornin'?"

"Aw, did'ya not have someone t' tuck ya in last night?"

The jabs make Y/N's face go red to hide her laughs. The dramatic eye rolls and frowns on the Delancey Brothers' faces are pure gold. Y/N doesn't doubt that either brother would go after any Newsie if it wouldn't get them in some trouble. After all, good ol' Mr. Pulitzer needs someone to make money for him.

As some of the guys keeps teasing the brothers, Y/N sneaks past them with Buttons, Albert following not too far behind. The three line up to get their papers, waiting for Weasel to slither his way to the distribution stand.

"Alright, line it up!" As if hearing his name, the Weasel himself stands grumpily behind his money box.

"Mornin' Weasel! Long time, no see!" Y/N grins brightly. The annoyed twitch under Weasel's left eye is enough to make Y/N snort.

"Not long enough." He grumbles.

"Aw, don't be such'a grump." Y/N mock pouts. She pulls a dime from her pocket and flips it onto the money box before moving down to take a stack of papers. She's grateful when Morris hands her the stack, although he does it with a sneer. Nice to know he's not specifically angry at her, at least not angry enough to throw her papers at her like he'll likely do to Jack and definitely to Race.

Y/N waits by the gates for her selling partner, aka the one and only Albert DaSilva. Thankfully Jack hasn't picked up on the Y/N and Albert almost always being partners. They switched it up once and a while to throw off any suspicion, but they're usually selling together. After all, it's one of the only times they can be together without the worry of Jack seeing.

"Ain'tcha sweet for waitin' for me?" Albert teases as he reaches the gate, his head down as he organizes his stack of papers in his bag.

"We both know you'd get lost if I let'cha go alone." Y/N snorts a laugh. She successfully ducks a playful swat from Albert before she looks over his shoulder. She sees Jack taunting Weasel and she knows she has a few seconds to leave before her brother chases her down. "C'mon, best we get a head start on Jack."

"Well stop screwin' around then." Albert grins and hurries out of the square, Y/N right on his heels.

They hurry through the streets of Manhattan towards the Brooklyn bridge. They usually take up selling along the waterfront, sometimes a few blocks around the bridge. They mostly sell at the bridge because it's one of the furthest spots from where Jack sells. Meaning they can hang out once they finish selling morning papers in peace.

"Bet I can sell all my papes b'fore you can even hawk a headline." Albert elbows Y/N's arm as they reach the bridge, the area slowly coming to life as people hurry to get to work.

"You're on." Y/N smirks before hurrying across the street to start selling.

The two spend most of the morning selling, taking a few small breaks to hide in the shade of an alleyway from the July sun. Y/N manages to finish selling her last paper just a few minutes after Albert. The red head is all smirks when he notices Y/N finish after him.

"Don't come smirkin' at me, you bet that you could sell out before I even started. You didn't say nothin' about finishin' first." Y/N points a finger at Albert as they turn down one of the alleyways behind the produce market. Y/N holds an apple in hand and Albert has a pear.

"Should'a bet I'd win first, that way I'da got a free lunch." Albert sighs dramatically and takes a bite of his pear. Y/N rolls her eyes for what feels like the millionth time today before eating her apple.

"I still don't see how ya eat those things." Y/N mumbles.

"I don't see how you can't!" Albert scoffs before finishing his pear.

"Too sweet. And soft, they make a mess." Y/N shrugs and takes another bite of her apple.

"You just can't handle how sweet pears are cause you're so bitter." Albert laughs. Y/N's mouth drops open and she doesn't hesitate to throw the core of her apple at Albert, effectively hitting his neck. Albert gapes, although there's a slight upturn at the corner of his lips. "Low blow, Kelly!"

"Aw, did I hurt the your ego on accident?" Y/N can't hold back the laugh the bubbles up from deep in her stomach. Albert gives her a "seriously?" look before he jumps at her. Y/N accidentally let's out a panicked squeak before turning. She gets a few steps before Albert wraps his arms around her and squeezes her into a hug from behind. "No fair!"

"I think you should apologize." Albert hums, his chin on top of Y/N's head. She's not short, but the way she's standing makes it easy for Albert to rest his chin in top of her head.

"Do you realize how awkward this is?" Y/N squirms. Her feet are in front of her and she's practically leaning against Albert, it's almost like she's trying to sit down. "Seriously, I think you're gonna break my back."

"Apologize 'nd I'll let go." Albert starts swaying back and forth, making Y/N grip his arms and shuffle her feet to keep from completely slipping to the ground.

"Ain't got nothin' t' apologize for." Y/N finished the sentence in time for Albert to sway further and nearly drop Y/N on her bottom. She squeaks again, making the obnoxious red head laugh and try to keep a firm grip on her so she won't fall.

"You're ridiculous." Albert shuffles back and helps Y/N stand up, laughing when she huffs in annoyance. Albert moves around to stand in front of Y/N, his arms crossed as he meets her faux annoyed expression. "I still think you owe me 'n apology."

"I don't see no reason why." Y/N shrugs, although the corners of her mouth twitch up into a horribly suppressed smile.

"That's a lousy thing t' say." Albert pouts, receiving a raised eyebrow from Y/N. The girl takes a small step closer to Albert and shrugs her shoulders slightly.

"Lousy ain't always bad." Y/N jokingly winks. Albert shakes his head with a laugh before naturally gravitating closer to Y/N. She follows until her nose bumps Albert's, the two of them getting closer until Y/N closes her eyes and feels Albert's mouth lightly touch hers.

Y/N hums into the kiss as Albert reaches up and rests his hand on the side of her neck. She follows, her hand gently wrapping around Albert's wrist and her thumb rubbing the soft skin. She can't help but smile as she moves her mouth againsr Albert's. This is far from the first time they've kissed, but with how little time they get to spend together, every kiss feels like the first.

Y/N still gets butterflies in her stomach. She still gets that happy high afterwards.

But even the happy high can end in a snap.

"Oh, hell no." Y/N's eyes snap open and she quickly pulls away from Albert. Her wide eyes meet Jack's furious frown as he stands near the mouth of the alleyway. Behind him, Race stands with an apologetic expression, Crutchie next to him with a hand over his mouth like he's holding in a laugh.

"Oh boy." Y/N whispers. Albert turns around, his expression matching Y/N's.

"Hey, Jack..." Albert awkwardly waves at the fuming boy.

"You're dead, DaSilva." And that's all it takes for Albert to bolt down the other end of the alleyway, Jack right on his heels. Y/N just stares in shocked silence, hardly noticing Race and Crutchie come to a stop next to her.

"I swear, I tried to distract him." Race rushes, although Y/N doesn't seem to hear as she opens and closes her mouth in shock.

"You are so in for it." Crutchie busts out laughing.

I'm so dead, Y/N thinks.

***

"Jack, you need t' calm down!"

"Calm down?! He was suckin' my sista's face!"

"Oh, no, gross, that's definitely not what we were doin'."

"You stay out of this!"

"Okay, everyone shuddup!" Y/N yells from one corner of the rooftop of the lodging house. Crutchie leans against the fire escape, watching and occasionally throwing in a comment or two. Jack paces around the roof, eyes narrowed in on Albert. The red head stands near the edge of the roof, as if he's ready to make a break for it if need be. Y/N stands somewhat between Albert and her fuming brother, sort of like a last resort for a barrier between the two. Y/N faces her brother, her arms crossed under her chest and her mouth set in a thin line. "Jack, it was just'a kiss 'nd I like Albert. S'nothin' wrong with that."

"Nothin' wrong with that? Everything's wrong with that! You're my sista', Albert's s'posed t' be my pal! Seein you two lockin' lips is just-" Jack wiggles around and gags, his nose scrunching up.

"Oh, we are not having this conversation because the thought of your sister kissin' a boy makes ya uncomfy." Y/N rolls her eyes before planting her hands in her hips.

"She has a point." Crutchie comments. Jack whines and shuffles around like he's about ready to throw himself off the rooftop.

"That don't change the fact that it's gross and weird and just wrong. She's my sister." Jack stares down Albert and points at Y/N.

"Yeah, 'nd it just so happens I was kissin' someone you know and trust! S'not like I was kissin' a Delancey or nothin'." Y/N's comment makes the other three on the roof gag and squirm uncomfortably. "Oh, we all know it's true!"

"Doesn't mean we wanna hear it." Albert shivers in disgust.

"Alright alright alright." Jack exhales heavily. He paces a few more times, shakes his head and pursing his lips. Y/N waits in silence with Albert and Crutchie, all three knowing Jack needs a second. When he finally stops pacing, all the attention trains in on him. "Fine, okay, s'not the worst thing ever, I'm gonna set some ground rules."

"What?!"

"Seriously?" Y/N whines, something she unfortunately shares with her older parasite- um, brother.

"Yes. Now I d'know how long this has been goin' on, but I'm sayin' right now that we will not be havin' any littles-"

"I'm gonna be sick." Y/N gags, and it's unfortunately a legitimate gag that makes bile sting the back of her mouth. Albert must inhale sharply and start choking on his spit because he starts coughing obnoxiously. Even Crutchie, who had found the whole situation so hilarious, looks like he's going to be sick.

"Oh, quit it ya pansies." Jack huffs. He angles towards Albert, his eyes narrowed again. "'Nd you. If you hurt my sista' in any way, I swear you'll find yourself swimmin' in the East River in no time."

"I'm definitely not planning on it." Albert manages to say before coughing and clearing his throat, his eyes watery from coughing.

"Good." Jack nods in satisfaction. He looks at the sky and seems to ponder before signing. "Get'a move in, gonna have evenin' papes out soon."

Albert throws an anxious look at Y/N before hurrying to the fire escape. He disappears, Crutchie quickly following and leaving the Kelly siblings alone.

"Y'know, ya could'a told me." Jack's shoulders sag. Y/N kicks her foot awkwardly, her eyes trained in the ground.

"Not if it risked ya reactin' the way ya did t'day." Y/N mutters. She looks up to see Jack sigh and move closer to her.

"I can definitely tell ya I wouldn't have chased him down." Jack snorts.

"I guess that would've been a perk." Y/N hums. She meets Jack's gaze and suddenly the two start laughing. Jack reaches over and playfully shives Y/N's shoulder.

"C'mon, weirdo. We got papes t' sell." Jack shakes his head.

Y/N smiles and follows him off the roof.

That's one crisis averted.

Granted, they still have the rest if the day left.

[letterboxd]

Poker Face.

Tiffany Haddish tells Gemma Gracewood about taking a holiday from comedy in Paul Schrader’s The Card Counter, her hotel comfort viewing, and why Oscar Isaac thinks of her as Jesus.

“When I say yes to a movie, that’s a hundred to two hundred people that get to work and I want them to be happy about working.” —Tiffany Haddish

Comedians taking on dramatic roles is not an innovation in cinema, but it’s which comedian, in which role, that makes a casting choice a talking point. Melissa McCarthy in Can You Ever Forgive Me? Mo’Nique in Precious. Peter Sellers in Being There. Robin Williams in everything.

In The Card Counter, Paul Schrader’s meditative slow-burn on American shame, part of the tension as a viewer lies in what we already appreciate about Tiffany Haddish as a performer. She is an unbridled crack-up, a live wire on screen and off, a former foster kid committed to busting unsustainable Hollywood beauty myths by wearing the same dress throughout an awards season. Her physical comedy is electric, even when it’s a simple raise of an eyebrow.

The wildest thing about La Linda—a gamblers’ agent working the mid-level casino circuit, who spies, in Oscar Isaac’s William (Bill) Tell, a potential new thoroughbred for her stable of card counters—is the way her drinks order changes from hotel bar to hotel bar. “I came in there with my comedy ways and it sucked,” Haddish laughs, disarmingly honest about her leap from the hi-jinks her fans know her for, to her dramatic role in Schrader's new film. “Paul was hard on me at first,” she recalls. “He had to reel me in, make adjustments, strip all this stuff off, all my tools, leave me with these instruments I barely ever use.”

Oscar Isaac and Tiffany Haddish in a scene from ‘The Card Counter’.

There’s an enduring myth that drama is tougher to pull off than comedy, something Haddish’s friend Morris Chestnut corrected her on a few years back. “He’s like, ‘No, what you do, that’s hard work. You are actually overworking yourself, doing these comedies.’ And I’m like, ‘He don’t know what he’s talking about.’ Then I actually did a drama. And I was like, ‘Oh, that was so easy. Oh, that was beautiful.’ It’s way easier. It’s way easier.”

What La Linda doesn’t know, but any casual observer of Schrader’s work will, is that Isaac’s Bill has a past, and that his methodical attempts to keep his guilt in check through a supremely minimal lifestyle, perhaps even to allow himself a spark of pleasure—redemption, even—are about to come unwound.

Before that, though, there’s time for La Linda, Bill and Cirk (Tye Sheridan)—the son of one of Bill’s former, shall we say, colleagues—to become an odd little chosen-family unit as they travel the circuit. Bill and La Linda cook up a nice heat while killing time in cocktail lounges, and her casual business charisma is a charming offset to the deeper themes at play. Writing fresh from a Venice Film Festival viewing, Rahul notes “you keep expecting Haddish to break out of the understated style and that tension works.” Andy agrees: “Her simple outlook on life and lack of existentialism offer a nice contrast to Tell’s brooding sorrow. Plus, La Linda is just a great character name.”

Haddish understood the pull between Bill and La Linda, and La Linda’s desire to probe into his mysterious monotony, in a very specific way: “As a standup comedian, I work with a lot of men that—they’re very talented, they’re doing big things when they’re on stage—but then when they come off the stage you’re like, ‘Who are you? Why are you so dark? Who hurt you? What’s going on?’ I can relate to that in so many ways.”

Still, of all the dramatic writer-directors to work with in America, why Schrader? What was it about his specific brand of lonely-white-man stories that appealed? “Cat People. It’s my jam,” declares Haddish, of Schrader’s 1982 erotic horror reimagining of the 1942 classic (and one of his few films with a female lead, played by Natassja Kinski). “I love that movie. It had some weird, twisted shit in it.” She has been campaigning Schrader to mount a sequel, so that she can have a crack at playing a sexy, predatory jungle cat. “I try to bring it up to him all the time. And he’s like, ‘Tiffany, we’re not doing it. No.’”

Natassja Kinski in Paul Schrader’s 1982 remake of ‘Cat People’.

Haddish imagines that Cat People would certainly be on La Linda’s list of hotel-room comfort watches, along with Shaft and Goodfellas. Haddish, on the other hand, prefers to kick back with series television when she is on the road. “I watch old sitcoms like Martin or, like, The Facts of Life. I love a good cartoon, especially the throwback ones on Boomerang. I really like the old school, like ThunderCats. That’s a good wind down for me.”

Filming days are long, making the minutes can be stressful, and Covid safety protocols add layers of complexity to the job. There are performers who are cast not only for what they bring to their roles, but also for the energy they bring to set. Haddish has an undeniable magnetism, so it is unsurprising to read her co-star Isaac, in The Card Counter’s production notes, describe her as being “like Jesus”, in that people would drop everything and follow her. She enjoys this comparison, revealing that she has always wanted to be an AD, the crew member with, traditionally, the greatest people skills. “I always wanted to be assistant director just so I can be like, ‘All right, picture’s up, guys.’ And just so I can know everybody and be cool with everybody.”

But as a performer with clout, what is her intention when she—Tiffany Haddish, famous actress™—walks onto a soundstage? Haddish’s answer is a generous primer on how to be a good sort on set (or, indeed, in any working environment). “When I say yes to a movie, that’s a hundred to two hundred people that get to work and I want them to be happy about working,” she explains. “I’m going to work with them again in something else, and I want to have a pleasant experience with the crew. The DP, the gaffers, all these people, we all work together as a unit, so I think it’s super important.”

Paul Schrader, Oscar Isaac and crew on the set of ‘The Card Counter’.

Certain crew members, she admits, “are imperative to making me look good”, but more than that, her approach is grounded in her own physical and emotional safety in an often volatile and unpredictable creative environment. “I see how some actors won’t talk to any crew members at all, and I feel like that’s not okay because these people are busting their ass to make you look great, and they are part of telling this story too. They might not be hanging off the side of the building like you are, but they are making sure that the camera’s operating correctly, so you don’t have to shoot it five hundred times.

“These people keep me alive. They keep me going and they can tell when I’m in a bad space. They’re like, ‘Here’s a Snickers.’ If I’m working with an actor who might be treating me not the best, they’re coming over, they’re giving encouraging words, ‘You’re going to be okay.’ We’re a team. I even talk to the editor. They’re like, ‘Picture’s up, sound’s rolling, and speed.’ And I’d be like [staring down the camera lens], ‘What’s up editor? Hey, it’s your girl Tiffany Haddish. Just a little note: I’m thinking about you. Now, if you could just make sure this lazy eye is this way… I know you’re in that room by yourself, but look out for your girl.” Sometimes, Haddish will even throw a bone to the studio executives. “I know they’re watching the dailies,” she laughs.

Her investment in the welfare of her film families is paying off in unexpected turns such as The Card Counter, with more to come. Up next, a trio of unusual comedies: Jerrod Carmichael’s existential buddy farce On the Count of Three, which was picked up by Annapurna out of Sundance this year; Cory Finley’s surrealistic sci-fi romp Landscape with Invisible Hand; and the intriguing Nicolas Cage vehicle, The Unbearable Weight of Massive Talent.

Related content

A list of favorite gambling movies from Gamblers, a podcast from The Big Picture’s Sean and Amanda

Life Detained: Jack Moulton’s interview with Kevin Macdonald, director of The Mauritanian

Josh’s list of Neo-Noir films

Follow Gemma on Letterboxd

‘The Card Counter’ is in US cinemas now.

[that-one-newsie]

newsies jatp au part 1!

Part one is here! Let me know anything you’d like to see in future/anything I can improve on/if you want to be added to the tag list As always, reblogs are greatly appreciated! Hope you enjoy it! (if anyone has any title ideas please send me an ask I’m rubbish at titles lol)

The Orpheum, Sunset Boulevard, Los Angeles – 1995

They’re playing at the Orpheum. They’re playing at the Orpheum. Everything they have done, everything that they have sacrificed all comes down to this moment.

Albert counts them in, and then they’re off.

It’s a great song, Now or Never, and standing on stage with his bandmates and best friends, giving it all that he’s got, Jack’s never been more at home.  Music, he decides, is the reason he lives. (Well, that and teasing Al about the hot tech guy he claims he doesn’t have a crush on).

They finish the song with the bang of the smoke machines and the crackle of mic feedback, drenched from head to toe in sweat. Breathing heavily, Jack looks up, hearing for the first time the cheers of the staff and crew.  In all of the adrenaline he’d forgotten it was the tech rehearsal, but it’s nice to hear their appreciation anyway.

Oh well. At least they know that they can rock everyone’s faces off when they come to see them play.

“Thank you,” Crutchie leans into the mic, “we’re Sunset Curve.” He winks at the girl behind the table, and Jack chuckles, before spinning around to grab a towel.

Their rhythm guitarists, the Delancey brothers, are grinning stupidly from ear to ear.

“Too bad we wasted that on the sound check, that was the tightest we’ve ever played!” Oscar exclaims. Morris nods his head in agreement, still very out of breath from the performance.

“Wait until tonight, man, when this place gets packed with record execs!” Jack is still very much on an adrenaline rush, bouncing around the stage like and excited child, the ribbon on his arm flying around all over the place.

Crutchie moves over and playfully punches Albert on the arm. “Al, you were smoking.”

“Oh, no, I was just warming up. You guys were the ones on fire.” Albert uses his drumsticks to gesture to the other four boys on the stage.

That’s a load of bull and all of them know it. Al’s the best drummer their age in all of LA.

Seeing the look from Crutchie, he relents.

“All right, I was killin’ it.”

Laughing, Cructchie pulls him into a quick hug, which he reluctantly accepts.

Jack’s stomach growls, a painful reminder of the fact that he hasn’t eaten since the morning. He could murder a street dog right now.

Ah, what the hell. They’re about to play their biggest gig yet, might as well treat themselves.

“I’m thinking we fuel up before the show… I’m thinking street dogs.”

This suggestion is met with full agreement from Crutchie and Albert, but Jack notices Morris slipping off towards the girl who was cheering for them earlier, with Oscar in tow.

“Hey, Delanceys, where you going?” He calls after them.

Oscar just looks at him and shrugs, but Morris replies “I’m good.” The next part of his sentence is directed at the girl across the counter: “Vegetarian, I could never hurt an animal.”

Jack scoffs, and licks his finger and shoves it in Morris’ ear. He recoils and Jack feels a sense of triumph. His mind wonders for a minute, and he vaguely hears Crutchie chatting up the girl, who introduces herself as Rose.

“Here’s our demo. And a t-shirt, size beautiful.”

Crutchie heard someone use that line of their girlfriend when they were shopping once, and he’s never really stopped using it. Apparently it works though, because Rose looks impressed.

“Thanks! I’ll make sure not to wipe the tables down with this one.” She says with a small laugh.

Albert butts in, “Good call. Whenever they get wet, they just kinda fall apart in your hands.”

Yeah. That’s a problem that they need to fix if they want to keep selling merch.

Oscar flicks Albert’s cap and slaps Jack on the shoulder. “Don’t you guys have to go and get hot dogs or something?”

“Sure.” Jack swings himself up on the table towards Rose, gesturing at Morris as he does so. “He had a hamburger for lunch.”

Leaving through the side entrance, Jack is immediately hit with the smell and general hubbub of LA. The bright lights blind him for a second after the dimly lit club, and he blinks a few times before walking towards the street with a bounce in his step.

“That’s what I’m talking about!”

Albert makes a face. “The smell of Sunset Boulevard?”

“No,” Jack laughs, shoving him away and kicking up water in a nearby puddle, “what that girl said in there tonight. About our music. It’s like an energy, connecting us with people. They can feel us when we play.”

Crutchie and Albert snigger slightly, and he puts his arms around them and pulls them in by the shoulders.

“I want that connection with everybody.”

Crutchie shifts his weight onto his good leg. “We’re gonna need more t-shirts.”

They laugh and set off down the street, past a queue of fans waiting to get into their show. Jack pulls his hood up over his head, shielding his face, and Albert does likewise with his hat. Crutchie, ever the sweetheart, takes the two t-shirts he was holding and passes them to the girls at the back of the line with a quick smile. The squeals follow them down the street until they’re out of view of the club and into the back alley nearby, where the street dogs are sold.

Jack has to admit that the vendor is probably breaking a ton of health and safety laws, especially as he serves the condiments out of the boot of his car with all of the grease and dirt, but the food is good and he doesn’t mind that much.

A quick sizzling sound and curse breaks into his thought as Albert drops pickle juice on the battery cables.

“Man,” Al muses, “I can’t wait to until we eat somewhere where the condiments aren’t served out of the back of an Oldsmobile.”

Jack hears him briefly mention something to the vendor, who brushes it off, but his brain is too focused on eating right now to care.

“This is awesome you guys.” He turns to his best friends, his family, and grins. “We’re playing The Orpheum. I can’t even count how many bands have played here, and then ended up being huge!”

He holds out his street dog and the other two follow suit.

“Eat up boys, because after tonight, everything changes.”

All three of tap their street dogs together, and then simultaneously take huge bites.

It doesn’t taste quite right. But then, Jack thinks, this is LA, so it might just be slightly different meat to before?

Al voices his thoughts. “That’s a new flavour…”

“Chill man,” Crutchie, every optimistic, reassures him, “street dogs haven’t killed us yet.”

With every fibre of his being screaming at him to stop, Jack takes another bite.

He doesn’t remember much after that. There’s an ambulance, and a lot of bright lights, and Crutchie is crying. He feels helpless. He can’t even move to comfort his friends and that hurts him the most. He sees flashes of hospitals, people, nurses, Albert, Crutchie, nurses again.

And then pitch black.

As his eyes adjust to the dark, he can just make out the shapes of the others curled up together in the corner sobbing. Jack crawls his way over, holding onto them as if they’re the only thing keeping him afloat. He holds them until Crutchie is so quite he’s not sure if he’s awake anymore, and until Albert’s sobs turn into sniffles and then silence. All with one thought running through his head.

Shit.

Tag list!: @maggs-is-a-muppet @oof-musicals @my-musical-trashlife @fancy-worm-with-the-poyle-inside @owlscbooks @fandomscraziness22

[trickamxxidiot]

My flower king

Nobody asked for this

Oscar Delancey x reader

they/them pronouns

tw: meantions of meanie dad

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

~~Y/n POV~~

Oscar Delancey was actually a genuinely nice guy, just no one has given him a chance. I grew up with him for the most part and people always picked on him and his brother about his father. I'm not gonna get into it but let's just say it was pretty bad. So Oscar and Morris grew up with a hard shell so that they seem like that nothing phases them but in reality everything hurts them so deeply. I feel so bad for them when the Newsies pick on him but I really can't do much during the day since I am also a newsie and Jack would kill them and me. But at night I sneak out to hang out with hi. He really just needs a friend.

so That's why I am here at the park at 1 am. I was currently sitting on a bench waiting for Oscar to come around. After a few minutes I see him looking around at the entrance. I got up and ran towards him as fast as I could. Once I reached him I immediately hugged him almost knocking us both down. He quickly regained his balence and hugged me back.

"so I'm guessing you missed me?" He said with a sly smile on his face

"you know I did" I respond releasing him from the hug. "Oh! I have something for you!" I quickly grab his hand and ran back to the bench I was first sitting on. He tried to keep up the best he could with ought falling.

once we reached the bench I told him to close his eyes. he did and I had to make sure he wasn't peakin. once I was sure I pulled out a flower crown I made for him. I placed it on his head and told him he could look. He took the crown off his head to look at it. then I saw him starting to cry.

"Wait I'm sorry, I didn't mean to make you cry" I started to panic and reach out to him

Oscar sniffles and starts laughing

"What do you have to be sorry for? I love it so much, aint no one got me anything till now, thank you." He pulls me into another hug. I gladly return his hug. "I love you so much" he kissed the top of my head and I get all flustered

"I love you too my flower king"

[chaoticgremlinwholikescheese]

Promises

A/N: Not what I usually write but wanted to try something new. I apologize in advance. Please don’t judge me.

TW: Violence, homophobia, swear words

DAVEY’S POV:

“I told you that the park was pretty at night.” Jack says with a smirk. “Fine, you were right. I admit it.” My hand is entwined with Jack’s, swinging slightly as we walk. “I like it when it’s quiet and empty. You can lay on the grass and stare up at the stars.” I hum in agreement. The stars are bright and beautiful, slowly twinkling in the night sky.

Jack leads me through the streets and alleys. He knows Manhattan like the back of his hand. He has every hiding spot committed to memory. This is his home, and he knows everything about it.

“Hey, look. It’s the two faggots.” Jack whirls around, pressing me behind him. Oscar stands at one end of the alley and Morris stands at the other. We’re trapped. They start walking closer and I ball my fists. I can’t fight for shit, but I can at least try.

“What do you want?” Jack growls. He places a hand on my arm, trying to shield me from the Delanceys. “Still hanging out with your boy toy?” Morris sneers. Jack’s fists tighten. He’s angry, I can feel it radiating off of him. “Shut your mouth before I shut it for you.” 

“Oh, he gets defensive over his little slut! How sweet!” I can feel my chest tightening. They aren’t going to leave us alone. This isn’t good. This is the farthest thing from good.

“Watch your mouth, Delancey.” Jack hisses. The brothers decide to ignore his threats, coming closer. “Y’know, I’ve been itching for a fight with you, Kelly. But you always had your little gang around you. But looks like you’re all alone with your little boyfriend now.” Morris cracks his knuckles for emphasis. 

“If you want to fight me, then we’ll fight. Just leave Davey out of this.” I look at Jack in disbelief. “You can’t honestly expect me to leave you here-” Jack silences me with a warning glare. “We could let him go. But then he’d run to get your friends. So I think we’ll have to hurt him too.” Oscar lunges at Jack, punching his jaw. Morris punches my stomach and I keel over, all the air being knocked from my lungs.

Everything is moving to fast, I can’t keep up. I hear Jack fighting with Oscar, but I can’t see him. I’m too focused on trying to fight off Morris’s grip on my wrists. He punches my jaw and my hat flies off. He wraps an arm around my throat. He pulls me against his body and I feel his breath on my ear. Then I feel the cold metal against my neck.

“Kelly. Stop or I’ll kill him.” I hope Morris is joking, but I don’t think he is. Jack freezes, slowly turning to face me. His face goes white when he sees the knife against my neck. “Oscar. Get him against the opposite wall. He won’t try anything while I’ve got his boyfriend.” 

Oscar does as he says, forcing Jack against the bricks. Jack stares at me, his eyes reassuring me that it will all be okay. I wish I could believe the same. “You don’t want to go to jail for this. Let him go.” Jack’s voice is calm, but I can sense the fear underneath. “We ain’t gonna kill him. We’re just gonna hurt him a bit.” Oscar hisses. My blood runs cold.

“Hurt me, but leave him alone. Please. I’ll do anything.” Jack is begging now. His hands are up in a show of surrender. “Don’t you see, Kelly? We’ll be hurting you by hurting Davey here.” I can feel panic taking over. But I have to stay strong for Jack. I can do that. I have to.

Morris draws the knife against my cheek and I bite back a scream. The blood is warm on my face, slowly dripping down. “Stop! Please, just stop!” Jack shouts. The blade cuts a line down my collarbone. When I stay silent, Morris presses deeper. This time I can’t hold back my scream. It echoes through the alley, repeating over and over again. I feel tears run down my cheeks. The salt stings my cuts. 

Another slice onto my chest, tearing my shirt. One onto my stomach, another on my arm, another and another and another- they blur. Too many. Just blinding pain. My screams mix with Jack’s pleading. I think he’s crying too, but I can’t tell. I feel blood but I can’t tell where exactly it’s coming from. 

I think I stop screaming. I feel numb. It’s like I’m watching through someone else’s eyes. I can’t really hear anything. I can’t tell if I’m breathing. Then I’m falling. I feel myself hit the cobble stones. the cold feels good. I just want to close my eyes. I’m really tired.

JACK’S POV:

Oh God, there’s too much blood. His shirt is dark with it, the red pooling beneath him. “Davey, Davey, I’m right here. I got you. You’re going to be okay. C’mon, sweetheart. Keep your eyes open.” A tear falls from my face into the slowly growing puddle of blood. It causes a ripple, rings flowing outwards.

I heard him scream, so many times. I saw the blood fall down his chest. I thought I was going to watch him die. But then the boys showed up, chased the Delanceys off. They dropped Davey like a bag of trash when they ran. Now my boyfriend, my heart, is laying here an inch away from death. 

“Hold on, I’m gonna get you home.” I slip my hands under Davey, slowly lifting him up. He whimpers and I apologize. I hold him to my chest. It reassures me that I can feel him breathing. I run as fast as I can. I take every shortcut and side street I know. I feel the familiar streets underneath me, and I follow them home.

I race up the lodging house stairs, and I’m greeted by Specs, Finch, and Albert. “Oh my God.” Finch chokes out. “Specs, you gotta help him, please, I can’t lose him-” Specs pushes me out of the way, yelling at Albert to get him the first aid kit. Finch leads me over to a chair. I try to stay with Davey, but he tells me I don’t want to see what comes next. 

I collapse into the chair and I place my head in my hands. The moment replays in my head. Why couldn’t I protect him? I should have told him to run. This is my fault. Davey is dying because of me, I did this- “Jack. Drink.” Finch shoves a glass of water into my hand. I take a sip but can’t drink anymore.

“Jack. You need to change out of your shirt.” I look down. My shirt is covered in blood. It looks like I was the one who got injured. “No. It’s okay.” My voice is quiet. I can’t seem to make it louder. “That wasn’t a question. Go change.” Finch orders. I don’t have the energy to argue.

Once I’m changed, I come back out. Everyone is back, but the room is silent. I think the silence is even scarier than the look on their faces. When they see me come in, they try to paste on smiles. They don’t hold them. “Is he okay?” every second that passes, I lose hope. “He’s okay. He’s still out, but he’s okay.” Specs announces. I sigh in relief. “Can I see him? Please?” Specs nods, gesturing towards the bed. 

The Davey I see there is pale. He looks already dead. A white bandage lays on his cheek, covering the gash underneath. I take a seat next to his bed and I grab his hand. It’s limp in mine. “I’m so sorry, Davey. I am so, so, sorry.” Tears begin to run down my face again. I didn’t think I had any tears left to cry. “I should have protected you.”

“This isn’t your fault, Jack.” Crutchie says softly. “Yes, it is! I’m the one who got away with just bruises. It should have been me in that bed. It should have been me.” Crutchie places a hand on my shoulder. “You didn’t hurt him. The Delanceys did.” I feel anger light in my core. “I’m going to kill them. I’m going to fucking kill them.” 

“We’ll join you.” Race mutters. The other boys voice their agreements. “No. No more violence.” Crutchie says loudly. “They almost killed my boyfriend. You can’t tell me you aren’t as angry as me right now!” I shout. “I’m fucking pissed, Jack! We all love Davey, and we’re just as protective over him as you. But violence won’t help anyone. It just makes things worse,” 

I don’t think I’ve ever seen Crutchie angry before. But here he is, standing in front of me, boiling with rage. As I look around the room, I see that all of the boys are furious. Davey is family. You protect family, you fight for them. But maybe Crutchie is right. If you keep fighting, the anger never ends. 

“Jack?” the voice is dry and pained, but it’s Davey’s. I whirl around and I see Davey blinking his eyes open. “Hi, sweetheart. I’m right here. You’re safe.” I stroke his hair gently. He turns his head to look at me. “I feel really crappy right now.” he chokes out. I chuckle. “Yeah, no wonder.” 

Davey takes a few seconds to look around and get his thoughts straight. Then his eyes go wide as everything comes back to him. “Jack, are you okay?” he tries to sit up but stops mid-movement with a pained inhale. “I’m okay. I’m the one who should be asking that question.” 

I place a pillow behind Davey and help him sit up. When the blankets fall off, I see the white bandages wrapped around his chest. So many bandages. “I’m so sorry, love.” Davey looks at me with confusion. “Why are you apologizing? You didn’t do anything wrong.” 

“That’s what I’ve been trying to tell him!” Crutchie chimes in. “You’re always so stubborn.” Davey says with a smile. “I should have protected you, Davey. I could have fought them off,” I insist. “No, you couldn’t have. You did all you could. Plus, I’m okay. A little banged up and traumatized, but I’m here. I’m alive.” He rubs my hand with his thumb.

“I should be the one laying here, not-” Davey puts his hand up to interrupt me. “You aren’t the only one who wants to protect their boyfriend, Jack. I’d do anything to keep you out of harms way. I’d much rather be the one injured than you. Carrying what happened on your shoulders won’t do any good. Don’t blame yourself.”

“I love you, Davey.” I place a kiss to his forehead. “I love you too, Jack.” He kisses my knuckles. I help Davey lay back down and cover him with the blankets. He continues to hold my hand, even as he starts to fall asleep. “Don’t leave me tonight. Please.” 

“I ain’t going anywhere. Promise.” 

A/N: I know this is dark and terrible. I apologize.

[noxexistant]

thinking about exactly how incredibly susceptible the delanceys are (particularly morris) to alex snyder’s behaviour and manipulation. the calculated little moves, the offerings. these little scraps of patience and apparent kindness, the generosity of occasionally playing along with the game if only to lure his opponent to a spot where he can deliver the killing blow.

snyder corners morris without oscar frequently - recognising the weakness in the younger brother without the elder to protect him - and speaks softly to him, acts like he’s listening in turn when morris reluctantly mumbles answers. he nods and creases his brows in the perfect picture of sympathy and concern. affection. he squeezes morris’ arm. he offers morris praise - the sort of praise morris has never once experienced from anyone else, even oscar. snyder tells him he’s good, works hard, does important work keeping those damned boys in line, in the sort of tone that makes morris forget that he and snyder are really hardly older than them - that, if anything, snyder’s in his twenties and morris should be one of those boys to him. but he’s not. he’s something better. that’s how snyder treats him.

snyder’s keenly aware that such tactics do not work on oscar, who’s much too cautious and aware - entirely unlike his little brother, unable to recognise people’s intentions, so starved for attention he’ll take it from anyone - so he’s his other self with the elder of the two. raises his voice to a bellow sharp enough to make oscar flinch, make his breath stutter. swears punishment will come - against morris - if oscar steps a toe out of line.

“he isn’t too old for another stay in my refuge. he’s just a boy. and too stupid to ever get along without you watching his back.”

oscar has nightmares about snyder. is as paranoid about his presence as jack is, even when they’re stood on the same side of the battlefield. snyder never feels like an ally. oscar will never tell morris what snyder says to him, knows it would only put morris directly in danger if he did, but oscar feels panic seize his heart every time he catches a glimpse of snyder talking to morris. snyder is always just slightly too quick, though, and their conversation is done by the time oscar gets there. he’s always too late. and morris keeps snyder’s secrets, keeps his promises that he won’t tell oscar what snyder tells him, keeps snyder’s praise close to his heart and keeps his gifts - chocolates, half-decent cigarettes, a new tie - hidden away. ignores oscar’s questions when they come.

snyder succeeds in doing the impossible and driving a divide between the two brothers. one he’d started building when they were scrappy waifs in a refuge that wasn’t his yet and he was probably about morris’ age. a teenager, but with more brains than morris could ever have. more brains than oscar could ever have. the brains to have both boys in each of his palms, and the will to crush them if they start straying.

[back-and-totheleft]

‘There’s still a presence out there reminding people not to speak about JFK’s killing’

Oliver Stone is not a fan of “cancel culture”. “Of course I despise it,” the Oscar winning filmmaker says, as if utterly amazed that anyone needs to ask him such a dumb question. “I am sure I’ve been cancelled by some people for all the comments I’ve made…. it’s like a witch hunt. It’s terrible. American censorship in general, because it is a declining, defensive, empire, it (America) has become very sensitive to any criticism. What is going on in the world with YouTube and social media,” he rants. “Twitter is the worst. They’ve banned the ex-President of the United States. It’s shocking!” he says, referring to Donald Trump’s removal from the micro-blogging platform.

It’s a Saturday lunchtime in the restaurant of the Marriott Hotel on the Croisette in Cannes. The American director is in town for the festival premiere this week of his new feature documentary JFK Revisited: Through the Looking Glass, in which he yet again pores over President John F Kennedy’s assassination in November 1963.

“I am a pin cushion for American-Russian peace relations… I had four f***ing vaccines: two Sputniks and two Pfizers,” Stone gestures at his arm. The rival super-powers may remain deeply suspicious of one another, but Stone is loading himself up with potions from both sides of the old Iron Curtain.

He has recently been travelling in Russia (hence the Sputnik jabs) where he has been making a new documentary about how nuclear power can save humanity. He also recently completed a film about Kazakhstan’s former president Nursultan Nazarbayev which – like his interviews with Vladimir Putin – has been roundly ridiculed for its deferential, softly-softly approach toward a figure widely regarded as a ruthless despot.

Dressed in a blue polo shirt, riffing away about the English football team one moment and his favourite movies the next, laughing constantly, the 74-year-old Oscar-winning director of Platoon, Wall Street, Natural Born Killers et al is a far cheerier presence than his reputation as a purveyor of dark conspiracy thrillers might suggest. He is also very outspoken. For all his belligerence, though, Stone isn’t as thick-skinned as you might imagine. I wonder if he was hurt by the scorn that came his way when his feature film JFK was released in 1991.

“I was more of a younger man. It was painful to me,” the director sighs as he remembers being attacked by such admired figures as newscaster Walter Cronkite and Hollywood power broker Jack Valenti for listening to the “hallucinatory bleatings” of former New Orleans DA Jim Garrison when JFK came out. “It was quite shocking actually because I thought the murder was behind us. I did think there was a feeling that 30 years later, we can look at this thing again without getting excited. But I was way wrong.”

Garrison, of course, was the real-life figure portrayed by Kevin Costner in the film; he was the original proponent of the theory that the CIA were involved in the killing of the US president, after his 1966 investigation. Garrison wrote the book On the Trail of the Assassins, on which the movie was partly based.

Even the director’s fiercest detractors will find it hard to dismiss the evidence he has assembled about the JFK assassination in the new documentary. Once I’d seen it and heard him hold forth, I came away thinking that only flat-earthers can possibly still believe that Lee Harvey Oswald shot President Kennedy all on his own. It’s that convincing.

Stone blitzes you with facts and figures about the Kennedy killing and its aftermath. At times, he himself seems to be suffering from information overload. “I am sorry. There are so many people,” he apologises for not immediately remembering the name of Kennedy’s personal physician, George Burkley, who was present both at Parkland Hospital, where Kennedy was first taken, and then at Bethesda, where the autopsy took place. Burkley was strangely reticent when giving evidence to the Warren Commission.

“I think there’s still a presence out there which reminds people not to speak. I’ve heard that in, of all places, Russia,” Stone says. He was startled to discover that the Russians knew all about his new documentary long before it was discussed in the mainstream press. “They said, ‘We heard about it.’ I said, ‘How?’ They said, ‘We have our contacts in the American intelligence business. They are not very happy about it.’”

Stone believes that no US president since Kennedy died has been “able to go up against this militarised sector of our economy”. Even Trump “backed down at the last second” and declined to release all the relevant documents relating to the assassination. “He announced, ‘I’m going to free it up, blah blah blah, big talk, and then a few hours before, he caved to CIA National Security again.”

The veteran filmmaker expresses his frustrations at historians like Robert Caro, author of a huge (and hugely respected) multi-volume biography of President Lyndon Johnson, for ignoring the evidence that has been turned up about the assassination.

“I can’t say [LBJ] was involved in the assassination,” explains Stone, “but it certainly suited him that Kennedy was not there anymore and he covered up by appointing the Warren Commission and doing all the things he did.”

Stone tried to cast Marlon Brando in JFK in the role as the deep throat source Mr X, eventually played by Donald Sutherland.

“I realise now I am grateful that he turned it down because he knew better than I that he would make 20 minutes out of that 14-minute monologue and it wouldn’t have worked.”

Nevertheless, he filled the film with famous faces. He thought that having familiar actors would make it easier for audiences to engage with what was an immensely complicated story.

Getting Stone to stop talking about JFK is like trying to pull a bone from a mastiff’s jaws. To change the subject slightly, I ask if he is still in touch with WikiLeaks founder Julian Assange. He is and is utterly horrified at how Assange is being treated, especially given that Siggi the Hacker, a key witness in the extradition case against Assange, admitted recently that he lied. Stone praises Assange’s partner Stella Morris as “the best wife you could ever have. She really is smart, she’s a lawyer … he has two children. He can’t even touch them or see them. It’s barbaric. It indicates America is declining faster than we know. It is just cutting off dissent.”

The mood lightens when I invite Stone to discuss some of his favourite films. He recently tweeted a list of these, which included Darling starring Julie Christie, Joseph Losey’s Eva starring Stanley Baker and Jeanne Moreau, and Houseboat, a frothy comedy starring Cary Grant and Sophia Loren. “I love films, always have. People don’t know that side of me. I could go on forever.”

Between his darker and more contentious efforts, Stone has made a few genre films himself, for example the underrated thriller U-Turn starring Sean Penn and Jennifer Lopez. He notes, though, that even when he tried a sports movie, he ended up right back in the firing line. The NFL was furious about his 1999 American Football film, Any Given Sunday. “They (the NFL) are arrogant, very rich people who close down any dissent, so I had to change uniforms and names… but they got the point.”

Last year, Stone published the first volume of his autobiography, Chasing the Light, which took him from childhood up to his Oscar triumph with Platoon. It was well received but it didn’t make nearly a big enough splash for his liking. “There was a curtain of silence about that. Maybe it is Covid… it was not reviewed by many people,” he says. “I wish the timing had been better. The publisher was terrible. They didn’t really promote anything. So now I have to start over again if I am going to do a second book, which I would love to do. But I have to find the right publisher.”

The book contains a barbed account of Stone’s experiences as a young screenwriter working in London for British director Alan Parker and producer David Puttnam on Midnight Express. “I wrote about it in the book, so you got my point of view. They were not very friendly people. I gave my criticism of Parker that he had a chip on his shoulder. He was from a poor side of the English. There is this phenomenon you see in England of hating the upper classes until they approve of you.”

No, they didn’t stay in touch. “And Puttnam is a Lord, right? He reminds me of Tony Blair. He is such a weasel.” For once, Stone feels he has overstepped the mark. He doesn’t want to call Puttnam a weasel after all. “Put it this way, Tony Blair is a weasel. I wouldn’t trust Tony Blair. Puttnam is a supporter of Blair. Let’s leave it at that.”

On matters English, he isn’t that keen on soccer either. He watched the semi-final between England and Denmark but had no intention of tuning into the final.

“Soccer is a different kind of game. It’s a different aesthetic. It is constant movement. The United States game allows you to re-group after every play and go into a huddle and so it becomes about strategy. I still enjoy it although people think I am brutal.”

Ask him why he so relishes American Football and he replies that he “grew up with violence in America … we were banging – cowboys and Indians, a lot of killing and that stuff. How do you get away from that? We weren’t playing with dolls.”

Stone’s feelings about the US are deeply ambivalent. He is old enough to remember a time in the late 1940s and early 1950s when “everything in America was golden” and part of him still seems to love the country but his mother was French and he talks about the US as a nation now in near terminal decline.

Perhaps surprisingly, his real political hero isn’t JFK. It’s the former President of France, Charles de Gaulle. “He said no to NATO and he said no to America. He understood the dangers of being a satellite country to America. You have no power in Europe. Don’t kid yourself. The EU is just an artificial body that was amazingly stupid in cutting off Russia and cutting off China too now.”

He doesn’t much like Boris Johnson either. “Boris, listen. He’d simply throw you in jail in a second.” He rails against the English for holding Assange in Belmarsh prison.

When he is not on a crusade or unravelling a conspiracy, Stone relaxes through Buddhist meditation. “Moderation in all things,” the man who came up with the phrase “greed is right, greed works” says with no evident sense of irony. He enjoys hanging out with his friends. “I have a nice life. I’m lucky,” he says before quickly adding, “I wish I had been more honoured and respected in my lifetime, but it seems that I took a course that is in conflict with the American Empire.”

Stone’s films have had relatively few strong female characters. Ask if he welcomes the #MeToo movement and the challenging of old gender norms and he gives a typically contrary answer. “It cuts both ways, though. There are reasons for patriarchy through the centuries,” he says. “Tribes tend to have a strong leader. You need strong leaders, but I do see the feminine impulse as being important, especially when situations become too militant. The feminine impulse, I’m talking about the maternal impulse not the Hillary Clinton/Margaret Thatcher version of feminism. They’re men. They’re not women,” he says. “I don’t want women in politics who want to be men. If a woman is a woman, she should be a woman and bring her maternalism. It’s a leavening influence.”

The director deplores the rush to judge historical figures about past misdeeds from a contemporary point of view. “I am conservative in that way… don’t expect to rejudge the entire society based on your new values.”

He met with Harvey Weinstein in Cannes a few years ago to discuss a potential Guantanamo Bay TV series. “At that point, maybe he knew he was on the ropes; he was delightfully charming and humble.” The project was scuppered by the scandal that that engulfed the former Miramax boss, who is now behind bars as a convicted sex offender. Stone’s gripes with Weinstein are less to do with his sexual offences than with the way that he attacked films like Born on the Fourth of July and Saving Private Ryan to boost his own movies.

“The press loved him [Weinstein]. Don’t forget, they loved him in the 1990s,” he says, remembering the disingenuous way in which Weinstein portrayed himself as the underdog taking on the big, bad Hollywood system.

“I think he robbed Cruise of the Oscar, frankly,” Stone huffs at the intensive Weinstein lobbying which saw Daniel Day-Lewis win the Academy Award for Best for My Left Foot, denying Tom Cruise for Born on the Fourth of July in the process.

Stone acknowledges his status in Hollywood has diminished. “All that’s gone. The people have changed,” he says of the days when the studios doted on him and his films were regularly awards contenders. Now, he’ll often finance his work out of Europe. He is developing a new feature film (he won’t say what it is). “Never say die, never say it’s over,” he says of his career.

Stone is based in Los Angeles and also has “a place in New York”. During the pandemic, he still managed to travel to Russia to make his nuclear power/clean energy documentary. “I got my shots over there because the EU is so f***ing stupid,” he says of the of the Europeans’ refusal to recognise the Sputnik vaccine. “It’s ridiculous, part of the political madness of this time.”

Now, he is putting all his energy into his new documentary about nuclear power. He waves away the idea that the Chernobyl and Fukushima disasters show what can go wrong – they were accidents.

“Accidents you learn from. If there were not a few crashes, how would you fly?” he says. It’s a line that somehow seems to express his entire philosophy of life.

-Geoffrey Macnab interviews Oliver Stone, The Independent, Jul 15 2021 [x]

[skyblue-ringpops]

Newsies in other time periods

If the Newsies characters weren’t in 1899, here’s the time periods I think they would best fit!

Jack: The Renaissance. To be more specific, probably the mid 1400s to early 1500s since that was around the time the more notable artists lived. I feel like he’d also be heavily involved in the art world, since he is an artist. He’d also have Michelangelo energy. I also feel like he’d be involved in philosophy, mainly focusing on independence and paving your own path rather than following the examples of others.

Davey: Ancient Greece. He has the scholarly vibes. He would be a philosopher as well as a writer and teacher. He would probably be heavily involved in all aspects of society, such as politics, education, philosophy, etc.. He seems like the guy that everyone would look up to and would go down in history for his knowledge and thoughts. He has Athena vibes

Katherine: I honestly don’t want to move her to a different period. She fits the times so well. However, if I have to choose, I’d pick the 1920s. She would be heavily involved in suffrage, of course. And she would still be a reporter. I don’t think she would be a flapper herself, but she would greatly admire their lifestyle and always write articles praising them.

Crutchie: America’s colonial times. I don’t know why, he just gives me colonist vibes. I feel like he’d be that kid that’s always pranking people, but nobody ever believed it was him because he’d seem innocent. Like, he’d happily agree to go to church with his parents, but would release a squirrel mid service. You know those ghost stories about colonial boys throwing stuff and making random noises just to bother people? That’s Crutchie.

Race: The 1930s. Race would probably be just like Bonnie and Clyde. He’d be a robber for sure. And he’d be good at it. However, he is dumb, and everyone knows it. So nobody thinks he’s guilty. He’s not smart enough to get away with robbery! But he is, and he’s amazing at it.

Spot: The 1960s. He just screams The Outsiders. He’s a greaser for sure. Big Dally vibes. He’s the cool kid that everyone looks up to, and they all want to be part of his “gang”. And yes, he does have a rival gang. His gang is basically the same energy as the Brooklyn newsies. 

Albert: American Revolution. He’s a kid, so he isn’t entirely sure about what’s going on. However, he is definitely anti-British, partially just to say he is. He’d get involved in everything he could, just to say he was there. He even watches the battles, which his father (who probably fights in the war) doesn’t appreciate. 

Sarah: The 1940s. She has movie star vibes for some reason. I feel like she’d be a famous actress, but humble. She wouldn’t use her money to buy fancy things...until she used it to help her family. She would live a more glamorous lifestyle later on, but family comes first.

JoJo: 1500s England. He gives Henry VIII vibes for some reason, so he was definitely alive during his rule. And he did idolize him. He loved how he just made his own rules and wanted to be like that. Well...maybe without the killing his wives part. Maybe. I do feel like JoJo would be the son of a noble and constantly pretend he’s a prince.

Les: I feel like he, like Crutchie, would be in Colonial America. He’d be like Crutchie’s partner in crime. Yes, they’d be friends. It’d be chaotic. They would always prank people together. When Crutchie grows up and stops with his mischief, everyone’s relieved...until they remember Les exists. And Les is much more chaotic, since he was trained.

Romeo: Shakespearean era. He would go see Romeo and Juliet’s debut, and he’d love it. He’d be Shakespeare’s biggest fan and see all his plays. He’d reenact them and dream of being in one. But he can’t act. He recites Shakespeare’s sonnets to every girl he meets. He dreams of being a playwright himself, but he isn’t very good at them. He also makes up his own words, names, and phrases, but they never catch on.

Smalls: Russian Revolution. Remember, she is very chaotic. So she just runs around spreading chaos. And she is very much an anarchist. She is invested in the Romanov story and wants to find and befriend Anastasia. She also idolizes Rasputin. I mean...can you blame her?

Tommy Boy: Modern. He just has modern vibes. I feel like he’d be an athlete. He has big tough guy vibes. He’d probably play football, maybe hockey. And he would be amazing at it. I don’t really know about sports though, so I won’t get into detail about it. He would also retire to be the coach of the top college team.

Mush: 1920s. He would be very involved in the culture of the time. He’d be dancing all the time and if you need him, he’s probably at the speakeasy. He’d probably become a performer as well. He just loves a good time.

Oscar Delancey: 2005. He’d be an emo. It’s true, don’t deny it. He loves MCR. He wears black eyeliner. And he is feral. He probably likes metal too. He always says he’s not like other boys and it’s not a phase. He wants to be Pete Wentz.

Morris Delancey: Salem, Massachusetts, 1692. Yep, the Salem Witch Trials. And he would be tried. He was probably accused for no reason, thought it was a joke, said something stupid during his trial, and executed. I have no idea why he gives me witch vibes, but he does.

Henry: Again, modern. He’d own a small deli. It’s a family business. He’d been working there for as long as he could remember, and knows he’ll inherit it someday. Eventually, it begins to grow in popularity. One day, it becomes a famous deli.

Specs: Early America. He feels like the type to look up to Ben Franklin. He loves his inventions and wants to be a famous inventor himself one day. He starts creating random things out of whatever he can find in his home. They’re not very good at first, but progressively get better and better. One day, he achieves his dream of becoming an inventor.

Buttons: 17th or 18th century. He’d be the son of the town’s tailor and would often help out. He ended up being an amazing tailor as well, and everyone loved his work. He liked to add his own twist to things, so many people could recognize his work at a glance.

Finch: World War II. I feel like he would fight, and he’d do it by choice. An older relative, maybe a brother or his father, would be drafted, and that would inspire him to join as well. He’s a good fighter, and he’s very passionate about the causes, but doesn’t enjoy the war and can’t wait for it to end.

Elmer: 1980s. He just gives me 80s vibes. He’d always go on little adventures with his friends and siblings and act out his favorite movies. He especially likes the ones about kids like him that lived much cooler lives. Think E.T. and Goonies. He doesn’t want to be an actor in those movies, he wants to be a character.

[love-pyramus]

I

RACETRACK: In 1899, the street of New York City echoed with the voices of newsies, peddeling the newspapers of Joseph Pulitzer, William Randolph Hearst and other giants of the newspaper world. On every street corner you saw 'em, carrying the banner, bringing you the news for a penny a pape. Poor orphans and run-aways, the newsies were a ragged army, without a leader, until one day when all that changed.

(The movie title appears. We see the outside of the Newsboys Lodging House. Inside, Kloppman, the owner, enters the bunkroom, finding the boys still in bed.)

KLOPPMAN: Boots! Skittery! Skittery! Skittery!

SKITTERY: Wha..I didn't do it!

KLOPPMAN: What do you mean you didn't do it? Will you get up? When you get up, it's time to get up! Snitch! Get up! Get up! Everybody's sleeping. They sleep their lives away these kids! The presses are rolling! Sell the papers, sell the papers! Come on, come on. You dreaming about selling papers?

JACK: Mmmmmm? What's the matta with you?

KLOPPMAN: What's the matter with me?

JACK: What's the matta with you? Wanna..go..back..to..

KLOPPMAN: Come on! (gives him a shove)

JACK: Get away from me, you're mad!

KLOPPMAN:  Haha. Get up boy! Come on. Alright! Carry the banner! Sell the papers!

(Racetrack looks around for his cigar, noticing that Snipeshooter has it)

*Start Song*

RACETRACK: That's my cigar!

SNIPESHOOTER: You'll steal anudder!

KID BLINK: Hey bummers, we got work tah do!

KID: Since when did you become me mudder?

CRUTCHY: Aww, stop your bawling!

NEWSIES: Hey, who asked you?

MUSH: So, how'd you sleep Jack?

JACK: On me back Mush.

MUSH: Ha ha. Hear that fellas? Hear what Jack said? I asked Jack how he slept and he said 'On me back Mush'

CRUTCHY: Jack, when I walk, does it look like I'm faking it?

JACK: No. Who says you're faking it?

CRUTCHY: I dunno. It's just there's so many fake crips on the street today, a real crip ain't got a chance. I gotta find me a new selling spot where they ain't used to seeing me.

MUSH: Try Bottle Alley or the harbour

RACETRACK: Try Central Park, it's guaranteed

JACK: Try any baker, bum, or barber

SKITTERY: They almost all knows how to read

KID BLINK: I smell money

CRUTCHY: You smell foul!

MUSH: Met this girl last night

CRUTCHY: Move your elbow!

RACETRACK: Pass the towel!

SKITTERY: For a buck I might!

NEWSIES: Ain't it a fine life Carrying the banner through it all? A mighty fine life Carrying the banner tough and tall Every morning, we goes where we wishes We's as free as fished Sure beats washin' dishes What a fine life Carrying the banner home-free all!

(The newsies leave the Lodging House and head towards Newsies Square)

Summer stinks and winter's waiting Welcome to New York Boy, ain't nature fascinating When you'se gotta walk? Still, it's a fine life Carrying the banner with me chums A mighty fine life Blowing every nickel as it comes

CRUTCHY: I'm no snoozer Sitting makes me antsy I likes living chancy

NEWSIES: Harlem tah Delancey What a fine life Carrying the banner through the slums

NUNS: Blessed children thought you wonder lost and depraved Jesus loves you, you shall be saved!

PATRICK'S MOTHER: Patrick, darling Since you left me, I am undone Mother loves you God save my son!

(Sung in counterpoint)

RACETRACK: Just give me half a cup

KID BLINK: Something to wake me up

MUSH: I gotta find an angle

CRUTCHY: I gotta sell more papes

VARIOUS NEWSIES: Papers is all I got Wish I could catch a breeze Sure hope the headline's hot All I can catch is fleas God help me if it's not Somebody help me, please..

(End counterpoint)

NEWSIES: If I hate the headline, I'll make up the headline And I'll say anything I hafta 'Cause it's two for a penny, if I take too many Weasel just makes me eat 'em afta

(Sung in counterpoint)

1. Look! They're putting up the headline They call that a headline? I get better stories from the copper on the beat I was gunna start with twenty but a dozen'll be plenty Tell me, how'm I gonna make ends meet?

2. What's it say? That won't pay! So where's your spot? God, it's hot! Will ya tell me how'm I gonna make ends meet?

(End counterpoint)

NEWSIES: We need a good assassination! We need an earthquake or a war!

SNIPESHOOTER: How 'bout a crooked politician?

NEWSIES: Hey, stupid, that ain't news no more! Uptown to Grand Central Station Down to City Hall We improves our circulation Walkin' til we fall!

(Sung in counterpoint)

1. Still we'll be out there Carrying the banner man to man! Yes, we'll be out there Soaking every sucker that we can! See the headline Newsies on a mission Kill the competition Sell the next edition While we're out there Carrying the banner is the...

2.Look, they're putting up the headline They call that a headlin The idiot who wrote it must be working for the Sun Didja hear about the fire?

3.Heard it killed old man Maguire!

2.Heard the toll was ever higher

3.Why do I miss all the fun?

2.Hitched it on a Trolly

3.Meetcha Forty-Fourth and Second

2.Little Italy's a secret

3.Bleecker's further than I reckoned

2.At the courthouse

3.Near the stables

2.On the corner someone beckoned and I....

(The Delancey brothers, Oscar and Morris, enter.)

RACETRACK: Dear me! What is that unpleasant aroma? I fear the sewer may have backed up during the night

BOOTS: Nah, too rotten to be the sewers.

CRUTCHY: It must be the Delancey brudders.

RACETRACK:  Hiya boys!

OSCAR:(to Snipeshooter) In the back, you lousy little shrimp. (Oscar throws Snipeshooter to the ground. Jack goes to help him up)

RACETRACK: It's not good to do that. Not healthy

JACK: You shouldn't call people lously little shrimps, Oscar, unless you're refering to the family resemblance in your brudda here.

RACETRACK: 5-1 that Cowboys skunks 'em. Who's betting?

JACK: That's right. It's an insult. So's this

(Jack knocks Morris' hat off his head. The Delancey's chase Jack around the Square. David and Les enter and watch until Jack bumps into them.)

DAVID: What do you think you're doing?

JACK: Runnin'!

NEWSIES:  (Sung in counterpoint)

1.It's a fine life Carrying the banner through it all A mighty fine life Carrying the banner tough and tall See the headline Newsies on a mission Kill the competition Sell the next edition What a fine life Carrying the banner!

2.Would you look at the headline You call that a headline? I get better stories from the copper on the beat I was gonna start with twenty but a dozen'll be plenty Would you tell me how'm I ever gonna make ends meet Hitched it on a Trolly Meetcha Forty-Fourth and Second Little Italy's a secret Bleecker's further than I reckoned By the courthouse, near the stables On the corner someone beckoned! Go get 'em Cowboy! You've got 'em now boy!

(End counterpoint)

NEWSIES: Go!

WORLD EMPLOYEE: These is for the newsies!

(The newsies line up for their papes, congratulating Jack on beating the Delancey's)

MORRIS: See you tomorrow, Cowboy

OSCAR: You're as good as dead, Cowboy

JACK: Oh Mr. Weasel.

WEASEL: Alright, alright! Hold your horses! I'm coming, I'm coming.

JACK: So, didja miss me Weasel? Huh, did you miss me?

WEASEL: I told ya a million times, the name's Wisel. Mr. Wisel to you. How many?

JACK: Don't rush me, I'm perusing the merchandise Mr. Weasel. The usual.

WEASEL: 100 papes for the wise guy. Next!

RACETRACK: Morning your honor! Listen, do me a favor, spot me 50 papes? I got a hot tip int the fourth, you won't waste your money.

WEASEL: It's a sure thing?

RACETRACK: Yeah. Not like last time.

WEASEL: 50 papes! Next!

CRUTCHY: Heya Mr. Wisel.

RACETRACK: See anything good this morning?

WEASEL: 30 papes for Crutchy! Next!

JACK:(to Les) You wanna sit down?

DAVID: 20 papers please. Thanks.

RACETRACK: Look at this, 'Baby Born With Two Heads'. Must be from Brooklyn.

WEASEL: Hey, you got your lously papes, now beat it!

DAVID: I paid for twenty. I only got nineteen.

WEASEL: Are you accusing me of lying kid?

DAVID: No. I just want my paper.

MORRIS: He said beat it!

JACK: No, it's nineteen. It's nineteen, but don't worry about it. It's an honest mistake. I mean, Morris here can't count to twenty with his

shoes on. Hey Race, will ya spot me 2 bits? Another 50 for my friend.

DAVID: I don't want another 50.

JACK: Sure you do. Every newsie wants more papes.

DAVID: I don't. I don't want your papes. I don't take charity from anyone. I don't know you. I don't care to. Here are your papes.

LES: Cowboy. They called him Cowboy.

JACK: Yeah, I'm called that and a lot of other things, including Jack Kelly, which is what me mudder called me.what do they call you kid?

LES: Les, and this is my brother David. He's older.

JACK: No kidding. So how old are you Les?

LES: Me? Near 10.

JACK: Near 10. Well, that's no good. if anyone asks, you're 7. You see, younger sells more papes and if we're gonna be partners, we wanna

be the best.

DAVID: Wait. Who said anything about being partners?

JACK: Well, you owe me 2 bits right? Well, I'll consider that an investment. We sell together, we split 70-30, plus you get the benefit of observing me, no charge.

DAVID: Ah-ha.

JACK: (mocking) Ah-ha.

CRUTCHY: You're getting the chance of a lifetime here, Davey. You learn from Jack, you learn from the best.

DAVID: Well, if he's the best, then how come he needs me?

JACK: Listen,I don't need you, pal,but I ain't got a cute little brudder like Les here to front for me. With this kid's puss and my God-given talent, we could move a thousand papes a week. So what do you say Les? You wanna sell papes with me?

LES: Yeah!

JACK: So we got a deal?

DAVID: Wait. It's got to be at least 50-50.

JACK: 60-40, I forget the whole thing.

(David holds out his hand. Jack spits on his hand and reaches for David, who pulls his arm away.)

JACK: What'sa matta?

DAVID: That's disgusting!

(By this time, the rest of the newsies have gotten their papers and are moving out into the street.)

JACK: The name of the game is volume, Dave. You only took twenty papes. Why?

DAVID: Bad headline.

JACK: That's the first thing you gotta learn. Headlines don't sell papes, newsies sell papes. You know, we're what holds this town together.

Without newsies, nobody knows nothing.

(A girl hurries past and the newsies take off their hats and make a few comments)

SPECS: Baby born with three heads!

(The newsies begin to yell out various headlines as the spread out over the streets. We go into Pulitzer's office where Pulitzer is reading the headline. Also in the room is Jonathan, Seitz and another World employee.)

PULITZER: 'Trolly Strike Drags On For Third Week' and this so called headline drags on for infinity.

EMPLOYEE: News is slow, Mr. Pulitzer. The trolly strike's all we've got.

PULITZER: Well, that's all Mr. William Randolph Hearst has too, but look how he covers the strike. Look! Look!

EMPLOYEE: We'll get a new headline writer, sir.

PULITZER: Steal Hearst's man. Offer him double.

SEITZ:  That's how he stole him from us. It's not the headlines, Chief. The circulation wars are cutting into our profits because you spend as much as you make trying to beat Hearst.

PULITZER: Then we need to make more money. You do not penny-pinch when you're in a war, Seitz. Victory means everything. Now, when I created the world... what is that deafening noise?

JONATHAN: Just the newsies, sir. I'll go have them quieted.

PULITZER: Never mind the newsies. Where was I?

SEITZ: Creating the world, Chief.

PULITZER: There's lots of money down there, gentlemen. I want to know how I can get more of it...by tonight.

(We are now in the streets of New York. Jack and David roam through the crowds.)

DAVID: Extra! Extra! Trolly strike drags on!

JACK: Extra! Extra! Ellis Island in flames!

DAVID: Wait, where's that story?

JACK: Thank you sir. Page 9. Thousands flee in panic. Thank you. Much obliged to you ladies.

DAVID 'Trash Fire Next To Immigration Building Terrifies Seagulls'??

JACK: Terrified flight of inferno!! Thousands of lives at stake!  Extra! Extra! Thank you sir. Extra! Extra!

(Les enters)

JACK: Hey, you start in the back like I told you? Ok, show me again.

LES:  (coughs) Buy me last pape, mista?

JACK: It's heartbreaking kid. Go get 'em.

DAVID: My father taught us not to lie.

JACK: Well, mine told me not to starve, so we both got an education.

DAVID: You're just making up things. All these headlines.

JACK: I don't do nothing the guys who write it don't do. Anyway, it's not lying, it's just improving the truth little.

(Warden Snyder enters and see Jack. Les re-enters)

LES: The guy gave me a quarter. Quick, give me some more last papers.

DAVID: Wait, wait. You smell like beer.

LES: Well, that's how I made the quarter. The guy bet me I wouldn't drink some.

JACK: Hey, no drinking on the job. It's bad for business. And what if somebody called the cop on you?

DAVID:  (pointing to Snyder) Is he a friend of your's?

JACK: Beat it! It's the bulls!

LES: All this over one sip of beer?

(Snyder chases Jack, David and Les through the streets, and into a building. They run up the stairs and get to the roof. Without stopping for a second, Jack jumps off the roof, leaving David and Les alone. Jack's head pops up and David and Les join him on a ledge just as Snyder enters.)

SNYDER: Sullivan! Wait til I get you back to the Refuge!

(Jack leads David and Les a little more, when David pulls him to a halt outside Irving Hall)

DAVID: I'm not running any further.

(Jack leads the two brothers inside.)

DAVID: I want some answers.

JACK: Shhh!

DAVID: Who was he and why was he chasing you? And what is this Refuge?

JACK: The Refuge is a jail for kids. That guy chasing me was Snyder, the warden.

LES: You were in jail?

JACK: Yeah.

LES: Why?

JACK: Well, I was starving, so I stole some food.

DAVID: Food?

JACK: Yeah, food.

DAVID: He called you Sullivan.

JACK: Well, my name's Kelly. Jack Kelly. You think I'm lying?

DAVID: Well, you have a way of improving the truth. Why was he chasing you?

JACK: 'Cause I escaped.

LES: Oh boy! How?

JACK: Well, this big shot gave me a ride out in his carriage.

DAVID: I bet it was the mayor.

JACK: No, Teddy Roosevelt. You ever heard of him?

MEDDA: What's going on there? Out! Out! Out!

JACK: You wouldn't kick me out without a kiss goodbye, wouldja Medda?

MEDDA: Oh Kelly. Where ya been, kid? Oh, I miss seeing you up in the balcony.

JACK: Hanging on your every word. So Medda.

MEDDA: Yes.

JACK: This is David and Les.

MEDDA: Hello.

JACK: And this is the greatest star of the vaudeville stage today, Miss Medda Larkson, the Swedish Meadowlark.

MEDDA: Welcome, gentlemen.

JACK: Medda also owns the joint.

MEDDA: Oh, what do we have here? Oh, aren't you the cutest little thing that ever was? Yes you are.

LES:  (cough) Buy me last pape, lady?

MEDDA: Oh, you are good. Oh yes, this kid is really good. Speaking as one professional to another, I'd say you have a great future.

JACK: So, is it alright if we stay here for a little while, Medda? Just until a little problem outside goes away.

MEDDA: Sure,stay as long as you like. Toby, just give my guests whatever they want.

ANNOUNCER: And now gents, the moment you've all been waiting for. The sensational songbird. The Swedish Meadowlark, Miss Medda Larkson.

(Medda goes on stage. Jack, David and Les watch from backstage.)

MEDDA: My lovey dovey baby I boo-hoo-hoo for you I used to be your tootsie-wootsie Then you said 'tooldle-dedoo' I miss the hanky-panky Each nighty-night til three Come back my lovey dovey baby And coochie-coo with me!

(After the show, the boys go outside)

JACK: So, you like that?

DAVID: Oh,I loved that. I loved it. It was great. She is beautiful. How do you know her?

JACK: She was a friend of me fadder's. Come on, Les, you wanna shine me shoes for me?

DAVID: Oh, it's getting late. My parents are going to be worried. What about your's?

JACK: Nah, they're out west looking for a place to live, like this. (Pulls out a Santa Fe brochure) See, that's Santa Fe, New Mexico. As soon as they find the right ranch, they're gonna send for me.

LES: Then you'll be a real cowboy.

JACK: Yup.

(Fire and loud crashes are heard. The boys run and see a riot breaking out. A group of men are beating up another man.)

DAVID: Jack! Why don't we go to my place and divi up. You can meet my folks.

JACK: It's the trolly strike, Dave. These couple of dumb-asses must not have joined or something.

DAVID: Jack, let's get out of here.

JACK: So, maybe we'll get a good headline tomorrow, Dave.  Look at this, he slept the whole way threw it.

(Jack picks up Les from the bench where he fell asleep. They enter David's house.)

ESTER: My God. What happened?

DAVID: Nothing, mama. He's just sleeping.

MAYER: We've been waiting dinner for you. Where have you been? (David puts a pile of coins on the table.)

MAYER: You made all this selling newspapers?

DAVID: Well, half of it's Jack's. This is our selling partner, and our friend. Jack Kelly, my parents. And that's my sister, Sarah.

MAYER: Ester, maybe David's partner would like to join us for dinner. Why don't you add a little more water to the soup?

(He kisses her. She shoves him away playfully)

ESTER: Mayer!

(After dinner, they talk as Sarah clears the table.)

JACK: So, from wat I saw today, you're boys are a couple of born newsies. Can I have some more?

SARAH: Yes.

JACK: So with their hard work and my experience,I figure we can peddle a thousand papes a week and not even break a sweat.

MAYER: That many?

JACK: More when the headline's good.

SARAH: So what makes the headline good?

JACK: Oh, you know. Catchy words like maniac, or corpse, umm..lovenest, or nude. Excuse me. Maybe I'm talkin' too much.

MAYER:  Sarah? Go get the cake your mother's hiding in the cabinet.

ESTER: That's for your birthday tomorrow!

MAYOR: Well, I've had enough birthdays. This is a celebration.

DAVID: I'll get the knife.

SARAH: I got the plates.

DAVID: This is only the beginning, papa. The longer I work, the more money I'll make.

MAYER: You'll only work until I go back to the factory, and then you are going back to school, like you promised.

SARAH:  Happy birthday, papa.

MAYER: This is going to heal, and they'll give me my job back. We'll make them

(Les stirs, but doesn't wake up in bed.)

LES: Come back my lovey dovey baby And coochie-coo with me!

(David and Jack start laughing)

ESTER: And what is this David?

(The boys try to stop laughing, but can't. Scene:  LATER THAT NIGHT, on David's fire escape)

JACK: So, how'd your pop get hurt?

DAVID: At the factory. It was an accident. He's no good to them anymore, so they just fired him.

(Mayer appears at the window.)

MAYER: David, it's time to come in now.

DAVID: Alright. Jack, why don't you stay here tonight?

JACK: Ah, no, thanks. I got a place of my own. But you're family's real nice, like mine.

DAVID: See you tomorrow.

JACK: Alright.

DAVID: Carrying the banner.

JACK: Carrying the banner.

(David goes inside, leaving Jack alone on the fire escape. He looks in the window and see the family together.)

JACK: So that's what they call a family Mudder, fadder, daughter, son Guess everything you heard about it's true. So you ain't got any family Well, who said you needed one? Ain'tcha glad nobody's waiting up for you? When I dream on my own I'm alone, but I ain't lonely For a dreamer, night's the only time of day When the city's finally sleeping When my thoughts begin to stray And I'm on the train that bound for Santa Fe And I'm free Like the wind Like I'm gonna live forever. It's a feeling time can never take away All I need's a few more dollars And I'm outta here to stay Dreams come true Yes they do In Santa Fe Where does it say you've 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 livin' Trapped where there ain't no future Even at seventeen Breaking your back for someone else's sake If the life don't seem to suit ya How bout a change of scene? Far from the lously headlines And the deadlines in between Santa Fe Are you there? Do you swear you won't forget me? If I found you would you let me come and stay? I ain't getting any younger And before my dying day I want space Not just air Let 'em laugh in my face, I don't care Save a place I'll be there So that's what they call a family? Ain'tcha glad you ain't that way? Ain'tcha glad you got a dream called Santa Fe?

(Jack ends up outside the Lodging House. As he enters, he meets up with Racetrack)

JACK: Heya Race.

RACETRACK: Hey Jack.

JACK: How was your day at the track?

RACETRACK: Remember that hot tip I told you about? Nobody told the horse.

(Pulitzer, Seitz and Jonathan are sitting it Pulitzer's office.)

PULITZER: I know we need to make more money. That's why we're here, to find out how to make more money.

JONATHAN: I have several proposals. First, to increase the paper's price.

PULITZER: Then Hearst outsells me and I'm in the poorhouse. Brilliant, Jonathan, brilliant.

JONATHAN: Not the customer's price. The price to the distribution apparatus.

SEITZ: Charge the newsies more for their papers? Bad idea, Chief.

JONATHAN: Very well. My next proposal, salary cuts. Particularly those at the top.

SEITZ:  Very bad idea, Chief.

PULITZER: Wait. What do the newsies pay now? 50 cents for 100 papers? If you raise it to 60 cents..

JONATHAN: A mere tenth of a cent per paper.

PULITZER: Multiply by 40, 000 papers a day?  7 days a week?.

JONATHAN: It definitely adds up, sir.

SEITZ:  If you do this, every newsie we've got will head straight for Hearst.

PULITZER: You don't know Hearst like I do, Seitz. As newspapermen, he and I would cut each other's throats to get an advantage. But as gentlemen, as businessmen, if also see eye to eye on certain things. Now, if we do it, Hearst and I, if we do it, then the other papers will do it.

SEITZ: It's going to be awfully tough on those children.

PULITZER: Nonsense, nonsense. It'll be good for them. Incentive, make them work harder, sell more papers. They'll look on it as an advantage.

(Outside the World building, the newsies have gathered. Jack joins them)

KID BLINK: They jacked up the price! You hear that Jack? Ten cents a hundred! You know, it's bad enough that we gotta eat what we don't sell, now they jack up the price! Can you believe that?

SKITTERY: This'll bust me, I'm barely making a living right now.

BOOT: I'll be back sleeping on the streets.

MUSH: It don't make no sense. I mean, all the money Pulitzer's making, why would he gouge us?

RACETRACK: Because he's a tight wad, that's why!

JACK: Pipe down, it's just a gag. So, why the jack up Weasel?

WEASEL: Why not? It's a nice day. Why don'tcha ask Mr. Pulitzer?

KID BLINK: They can't to this to me Jack.

RACETRACK: They can do whatever they want. It's their stinkin' paper.

BOOTS: It ain't fair. We got no rights at all.

RACETRACK: Come on, it's a rigged deck. They got all the marbles.

MUSH: Jack, we got no choice, so why don't we get our lousy papes while they still got some, huh?

JACK: No! Nobody's going anywhere. They can't get away with this!

LES: Give him some room, give him some room. Let him think.

RACETRACK: Jack, you done thinkin' yet?

WEASEL: Hey! Hey! Hey! World employees only on this side of the gate!

JACK: Well, listen. One thing for sure, if we don't sell papes, then nobody sells papes. Nobody comes through those gates until they put the price back to where it was.

DAVID: You mean like a strike?

JACK: Yeah, like a strike!

RACETRACK: Are you out of your mind?

JACK: It's a good idea!

DAVID: Jack, I was only joking. We can't go on strike, we don't have a union.

JACK: But, if we go on strike, then we are a union, right?

DAVID: No, we're just a bunch of angry kids with no money. Maybe if we got every newsie in New York, but...

JACK: Yeah, well we organize. Crutchy, you take up for collection. We get all the newsies of New York together.

DAVID: Jack, this isn't a joke. You saw what happened to those trolley workers.

JACK: Yeah, well that's another good idea. Any newsie don't join with us, then we bust their heads like the trolley workers.

DAVID: Stop and think about this Jack. You can't just rush everybody into this

JACK: Alright. Let me think about it. Listen. Dave's right. Pulitzer and Hearst and all them other rich fellas, I mean, they own this city, so do they really think a bunch of street kids like us can make any difference? The choice has got to be yours. Are we just gonna take what they give us, or are we gonna strike?

LES: Strike!

BOOTS: Keep talking Jack, tell us what to do!

JACK: Well, you tell us what to do Davey.

DAVID: Pulitzer and Hearst have to respect our rights.

JACK: Hey listen! Pulitzer and Hearst have to respect the rights of the working boys of New York! Well, that worked pretty good, so what else?

DAVID: Tell them that they can't treat us like we don't exist.

(Begin Song)

JACK: Pulitzer and Hearst, they think we're nothing. Are we nothing?

NEWSIES: No!

DAVID: If we stick together like the trolley workers then they can't break us up.

JACK: Pulitzer and Hearst, they think they got us. Do they got us?

NEWSIES: No!

DAVID: We're a union now, the Newsboys Union. We have to start acting like a union.

JACK: Even though we ain’t got hats or badges We’re a union just by saying so And the World will know!

BOOTS: What’s to start somebody else from selling our papes?

JACK: Well, what’s wrong with them?

RACETRACK: Some of them don’t hear so good!

JACK: Well then we’ll soak ‘em!

DAVID: No! We can’t beat up kids in the streets. It’ll give us a bad name.

CRUTCHY: Can’t get any worse.

JACK: What’s it gonna take to stop the wagons? Are we ready?

NEWSIES: Yeah!

DAVID: No!

JACK: What’s it gonna take to stop the scabber? 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! Mr. Hearst and Pulitzer Have we got news for you! Now the World will hear What we’ve got to say We’ve been hawking headlines But we’re making ‘em today. And our ranks will grow!

CRUTCHY: And we’ll kick their rear!

NEWSIES: And the World will know that we been here!

JACK: When the circulation bell starts ringing Will we hear it?

NEWSIES: No!

JACK: What if the Delancey’s come out swinging’ Will we hear it?

NEWSIES: No! When you’ve 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 But it ain’t worth beans! Now they’re gonna see what ‘stop the presses’ really mean And the day has come And the time is now And the fear is gone

BOOTS: And their name is mud!

NEWSIES:  And the strike is on

BOOTS: And I can't stand blood!

NEWSIES: And the World will..

JACK: Pulitzer may crack the whip but he won’t whip us!

NEWSIES: Pulitzer may crack the whip but he won’t whip us! And the World will know And the World will learn And the World will wonder how We made the tables turn And the World will see That we had to choose That the things we do today Will be tomorrow’s news And the old will fall And the young stand tall And the time is now And the winds will blow And our ranks will grow And grow and grow and so The World will feel the fire And finally know!

NEWSIES: Strike! Strike! Strike! (etc.)

JACK: We gotta get word out to all the newsies of New York. I need some of those….what’dja call ‘em?

DAVID: Ambassadors?

JACK: Yeah, right. Okay, you guys, you gotta be ambastards and go tell the other that we’re on strike.

KID BLINK: Say, Jack, I’ll take Harlem

RACETRACK: Yeah, I got Midtown.

MUSH: I got the Battery, Jack.

CRUTCHY: Hey, I’ll take the Bronx.

JACK: Alright. And Bumlets, and Specs and Skittery, you take Queens.  Pie Eater! Snoddy! East Side! Snipeshooter, you go with ‘em. So, what about Brooklyn? Come on, Spot Conlon’s territory. What’sa matta? You scared of Brooklyn?

BOOTS: Hey, we ain’t scared of Brooklyn. Spot Conlon makes us a little nervous.

JACK: Well, he don’t make me nervous. So you and me, Boots, we’ll go to Brooklyn. And Dave here can keep us company.

DAVID: Sure, just as soon as you delivery our demands to Pulitzer.

JACK: Me? To Pulitzer?

DAVID: You’re the leader, Jack.

JACK: Well, maybe the kid’ll soften him up.

(Jack and Les enter the World Building. The newsies cheer)

NEWSIES: Strike! Strike! Strike! (etc.)

(The newsies go off in different directions. Denton enters and approaches David.)

DENTON: Hey, what is the strike? What’s going on?

DAVID: We’re bringing out demands to Pulitzer.

DENTON: What demands?

DAVID: The newsies demands. We’re on strike.

DENTON: I’m with the New York Sun. Bryan Denton. You seem like the kid in charge. What’s your name?

DAVID: David

DENTON: David. David as in David and Goliath? You really think old man Pulitzer’s going to listen to your demands?

DAVID: He has to. (Jack and Let thrown out the door.)

JACK: Well, so’s your old lady! You tell Pulitzer he needs an appointment with me!

LES: Yeah!

(Jack, David, Les and Denton are sitting in a booth in Tibby’s Restaurant.)

JACK: So this snooty mug says to me, ‘You can’t see Mr. Pulitzer. No one sees Mr. Pulitzer.’ Real hoity-toity, you know the type?

LES: Real hoity-toity.

JACK: So that’s when I says to him, ‘Listen, I ain’t in the habit of transacting no business with office boys. Just tell him Jack Kelly’s here to see him now!’

LES: That’s when he threw us out.

DENTON: Does he scare you? You’re going up against the most powerful man in New York City.

JACK: Oh yeah, look at me. I’m trembling.

DENTON: Alright, keep me informed. I want to know everything that’s going on.

DAVID: Are we really an important story?

DENTON: Well, what’s important? Last year I covered the war in Cuba. Charged up San Juan Hill with Col. Teddy Roosevelt. That was an important story. So, is the newsie’s strike important? That all depends on you.

JACK: So my name’s really gonna be in the papers?

DENTON: Any objections?

JACK: Not as long as you get it right. It’s Kelly, Jack Kelly. Oh, and Denton? No pictures.

DENTON: Sure Jack. (Jack, David and Boots start across the Brooklyn Bridge.)

DAVID: I’ve never been to Brooklyn, have you?

BOOTS: I spent a month there on night.

(Jack and Boots lean over the side and scream at the top of their lungs.)

DAVID: So, is this Spot Conlon really dangerous?

(The boys get to Brooklyn. There are a lot of tough looking boys.)

BROOKLYN NEWSIE: Going somewhere, Kelly?

(Jack pushes past him. David and Boots follow.)

SPOT: Well, if it ain’t Jack be nimble, Jack be quick.

JACK: I see you moved up in the world, Spot. Got a river view and everything.

(The two boys spit-shake.)

SPOT: Heya Boots. How’s it rollin’?

BOOTS: I got a couple of real good shooters.

(Spot takes the marbles and takes out his sling shot.)

SPOT: Yeah. So, Jacky-boy. I’ve been hearing things from little birds. Things from Harlem, Queens, all over. They been chirpin’ in my ear.  Jacky-boy’s newsies is playing like they’re going on strike.

JACK: Yeah, well we are.

DAVID: We’re not playing. We are going on strike.

SPOT: Oh yeah? Yeah? What is this, Jacky-boy? Some kind of walking mouth?

JACK: Yeah, it’s a mouth. A mouth with a brain, and if you got half a one, you’ll listen to what he’s got to say.

DAVID: Well, we started the strike, but we can’t do it alone. So, we’re talking to newsies all around the city.

SPOT: Yeah, so they told me. But what’d they tell you?

DAVID: They’re waiting to see what Spot Conlon is doing, you’re the key. That Spot Conlon is the most respected and famous newsie in all of New York, and probably everywhere else. And if Spot Conlon joins the strike, then they join and we’ll be unstoppable. So you gotta join, I mean... well, you gotta!

SPOT: You’re right Jacky-boy, brains. But I got brains too, and more than just half a one. How do I know you punks won’t run the first time some goon comes at ya with a club? How do I know you got what it takes to win?

JACK: Because I’m telling you, Spot.

SPOT: That ain’t good enough Jacky-boy. You gotta show me.

(The boys go back to Newsies Square, where the rest of the newsies wait.)

RACETRACK: Jack. So, where’s Spot?

JACK: He was concerned about us being serious. You imagine that?

RACETRACK: Well, Jack, maybe we ought to ease off a little. Without Spot and the others, there ain’t enough of us, Jack.

MUSH: Maybe we’re moving too soon. Maybe we ain’t ready, you know?

SKITTERY: I definitely think we should forget about it for a little while.

JACK: Oh, do ya?

SKITTERY: Yeah.

RACETRACK: Yeah, I mean, without Brooklyn… you know?

JACK: Spot was right, is this just a game to you guys?

(Begin Song)

DAVID: Open the gates and seize the day Don’t be afraid and don’t delay Nothing can break us No one can make us Give our rights away Arise and seize the day!

DAVID AND NEWSIES: Now is the time to seize the day Send out the call and join the fray

DAVID: Wrongs will be righted if we’re united

DAVID AND NEWSIES: Let us seize the day! Friends of the friendless seize the day Raise up the torch and light the way Proud and defiant We’ll slay the giant Let us seize the day

Neighbor to neighbor Father to son One for all and all for one! Open the gates and seize the day Don’t be afraid and don’t delay Nothing can break us No one can make us Give our rights away Neighbor to neighbor Father to son! One for all and all for one!

(The circulation bell begins to ring)

JACK Anybody hear that?

NEWSIES No!

JACK: So what are we gonna do about it?

NEWSIES: Soak ‘em!

(The newsies and the scabbers have a stand off. 3 scabs join with the newsies, but then a bug scab comes up against Jack. He tries to get by, but can’t. The newsies start soaking the scabs, who eventually run away. They tear up the newspapers. Jack starts making faces and blowing raspberries at Weasel, Oscar and Morris through the distribution window.)

MORRIS: I’m gonna crack your dome!

(The tearing of newspapers continue. A delivery cart is pushed onto it’s side. Weasel calls for the cops, who enter blowing whistles.)

JACK: Cheese it! Cheese it, it’s the bulls!

(All the newsies run, except Crutchy, who doesn’t notice)

RACETRACK: Crutchy! Scram! Scram!

(Crutchy starts to leave, but is blocked in by cops. He turns to find the Delancey brothers behind him. They knock his crutch aside and drag him away. Denton has been watching all of this. THAT NIGHT- Jack and David walk to the Refuge. Jack has a rope in his hands)

JACK: So here it is. The Refuge. My home, sweet home.

DAVID: How can you be sure they sent him here?

JACK: How can I be sure the Delancey’s stink? It’s just how things work, you know? An orphan gets arrested, Snyder makes sure he gets sent straight here, so he can rehabilitate him. The more kids in the Refuge, the more money the city sends to take care of them, the more Snyder sticks it in his pocket. He’s here.

DAVID: So how come you brought the rope?

(A carriage exits the Refuge. Jack and David hind in the shadows. As the guard talks with the nuns, the two boys sneak by. On the roof, David lowers Jack, who has the rope tied around his waist. Jack gets level with the window.)

JACK: Steady. Steady, Dave. That’s good.

(Jack knocks on the window. A boy around Les’s age opens it.)

TEN PIN: Hey. Cowboy. You miss the joint?

JACK: What do ya say, Ten Pin. You got a new guy in here. Crutchy.

TEN PIN: The gimp? I’ll get him for ya.

JACK: Hey Crutchy.

(With the help of a boy, Crutchy limps to the window.)

CRUTCHY: I don’t believe it. What are you hanging around here for?

JACK: What do you mean what am I hangin’ around here for? You know who’s on the roof?

CRUTCHY: Who?

JACK: Dave.

CRUTCHY: Is that Dave? Heya Dave! How ya doin’?

DAVID:: Shhh.

JACK: Listen, Crutchy, go get your stuff. We’re gonna get you outta here.

CRUTCHY: Well, actually, I ain’t walking so good. Oscar and Morris kindda worked me over a little bit, you know?

JACK: They hurt you? Don’t worry about it. Me and Dave, we can carry you outta here.

CRUTCHY: I don’t want nobody carrying me, you hear? Hey, Dave! You know, they still talk about how Jack rode outta here on that coach.

DAVID: Oh, yeah. Teddy Roosevelt’s, right?

CRUTCHY: You already heard the story.

DAVID: You mean it’s true?

CRUTCHY: Of course. Hey! Cheese it!

(Snyder enters and inspects the room. Jack swings to the side, out of site. As Snyder is about to look out the window, Crutchy grabs his arm.)

CRUTCHY: Mr. Warden Snyder, sir. You know, I was thinking. I’d just like you to know that when you were taking a nap this afternoon…

(Crutchy leads Snyder away from the window and Jack leaves. THE NEXT MORNING- Pulitzer, Weasel and Seitz are inside Pulitzer’s office.)

SEITZ: I don’t think they’re just going to go away, Chief.

WEASEL: Mr. Pulitzer, sir, just give me the means and I’ll take care of them for ya.

PULITZER: I’ll give you whatever means you require. I want this nonsense down with once and for all.

SEITZ: Chief…

PULITZER: Shut you mouth, Seitz

(Weasel and Seitz leave. Snyder looks out the window to the square where the newsies have gathered.)

NEWSIES: Open the gates and seize the day Don’t be afraid and don’t delay Nothing can break us No one can make us Give our rights away Arise and seize the day

(The boys dance in the square and block the entrance to the World building. A delivery cart rushes through. The newsies and scabs have another stand off.)

DAVID: Alright. Everyone remain calm.

JACK: Let’s soak ‘em for Crutchy!

(The newsies charge towards the scabs, who retreat. A large door opens and big men with clubs and chains come out)

RACETRACK: Jack! Jack!, the Crib!

(the men form a circle around Jack so none of the newsies can help him. The gates shut and Denton can’t get in to help.)

OSCAR: Heya Jacky-boy (Jack faces a man with a chain. Outside, Denton tried to get in.)

DENTON: Aren’t you going to stop them, sir?

POLICEMAN: Move along, mister.

(Just as all hope seems lost for Jack, a bunch of newsies appear on the rooftops, including Spot.)

SPOT: Never fear, Brooklyn is here.

MUSH: It’s Brooklyn!

(The newsies start to soak the Crib, the Brooklyn boys using their sling shots. Racetrack throws his hands in the air and sit on a ledge….)

RACETRACK: Hey, I give up. Alright, alright. I give up.

(…then kicks the guy *you know where*)

JACK: Hey, Spot!

(Shots of Newsies punching the scabs. First Racetrack, then Jack, Kid Blink and another. Skittery get hits and falls back. Newsies catch him)

DAVID: Are you alright?

(Before he can answer, the newsies push him back up and he punches the man back. Spot opens the gates and the Brooklyn gang join. They force the Crib back. The newsies cheer and tear some more papers. Denton enters with him camera.)

DENTON: Jack! Boys! Freeze! Freeze!

JACK: Alright guys

(Denton takes the picture. Jack is the only one ready for it. The others all have weird expressions on their faces. The picture turns black and white and appears on the cover of the New York Sun under the headline ‘The Children’s Crusade; Newsies Stop the World’. NEXT DAY- The newsies are in Tibby’s. Denton enters with the paper.)

DENTON: Hey fellas. Hey, hey! Big time.

BOOTS: What you got there Jack?

SPOT: Where’s me picture? Where’s me picture?

BOOTS: What’s that? That all about us?

MUSH: Look at that Jack. You look like a gentlemen

JACK: Will you get your fingers off me face?

SPOT: Where does it say my name? Where’s my name?

JACK: Will you quit thinking about yourself?

DAVID: You got us on the front page!

DENTON: You got yourselves on the front page. I just got to make sure you stay there.

SKITTERY: So what. You get your picture in the papes, so what’s that get you, huh?

MUSH: What are you talkin’ about?

JACK: Shut up, boy. You been in a bad mood all day!

SKITTERY: I’m not in a bad mood!

RACETRACK: Glum and dumb. What’s the matta with you?  You get your picture in the papes, your famous. Your famous, you get anything you want. That’s what so great about New York!

(Begin Song)

MUSH: A pair of new shoes with matching laces

RACETRACK: A permanent box at Sheepshed Races.

SPOT: A porcelain tub with boiling water

KID BLINK: A Saturday night with the mayor’s daughter!

RACETRACK: Look at me I’m the King of New York! Suddenly I’m respectable Staring right atcha Lousy with stature

JACK: Nubbin’ with all the muckety-mucks I’m blowin’ my dough and goin’ deluxe!

RACETRACK: And there I’ll be Ain’t I pretty?

RACETRACK & JACK: It’s my city I’m the king of New York!

BOOTS: A corduroy suit with fitted knickers

LES: A mezzanine seat to see the flickers

SNIPESHOOTER: Havana cigars that cost a quarter

DAVID: An editor’s desk for our star reporter!

NEWSIES: Tip your hat He’s the King of New York!

DENTON: How ‘bout that? I’m the King of New York!

NEWSIES: In nothing flat He’ll be covering Brooklyn to Trenton Our man Denton

KID BLINK: Making a headline out of a hunch

DENTON: Protecting the weak

RACETRACK: And paying for lunch

DENTON: When I’m at bat Strong men crumble

RACETRACK: Proud yet humble

DENTON & RACETRACK: I’m/He’s the King of New York

NEWSIES: I gotta be either dead or dreaming ’Cuz look at that pape with my face beaming Tomorrow they may wrap fishes in it But I was a star for one whole minute! Starting now I’m the King of New York!

DENTON: Ain’t you hear? I’m the King of New York!

NEWSIES: Holy cow! It’s a miracle Pulitzer’s crying Weasel? He’s dying! Flashpots are shooting bright as the sun I’m one hifalutin’ sonuva gun! Don’t ask me how Fortune found me Fate just crowned me Now I’m King of New York! Look and see Once a piker Now a striker I’m the Kin of New York! Victory! Front page story Guts and glory I’m the King of New York!

(The newsies cheer and gather around a table)

JACK: So, let’s have some ideas.

DAVID: Well, we gotta show people where we stand

JACK: Yeah, so we gotta stay in the papes.

DENTON: My paper’s the only one printing any strike news so far

JACK: So, we should do something that’s so big the other papers’ll feel stupid if they try to ignore us. Like a rally. A newsie rally with all the kids from all over New York. It’ll be the biggest, loudest, noisiest blow-out this town’s ever seen!

DAVID: We’ll send a message to the big boys

RACETRACK: Geesh, I’ll give ‘em a message.

(A waiter brings a tray of cokes. Each newsie grabs a glass.)

JACK: There’s a lot of us, and we ain’t going away. We’ll fight until damn Doomsday if it means we get a fair shake.

DAVID: Hey, guys. To out man Denton.

NEWSIES: Our man Denton!

(The newsies lift their glasses in a toast. IN THE REFUGE- Crutchy knocks on Snyder’s door and enters.)

CRUTCHY: Heya Mr. Snyder. How was your supper?

(As he begins to put the plates on a tray, Crutchy notices Snyder looking at the paper, particularly at Jack’s picture.)

CRUTCHY: Hey! That’s Jack. He looks just like himself.

SNYDER: You know this boy?

CRUTCHY: No.

SNYDER: You have a very famous friend, this Jack. Do you know where he lives?

CRUTCHY: I never heard of him, honest! It’s this brain of mine, it’s always making mistakes. It’s got a mind of it’s own. Can I get you anything else, Mr. Snyder? Good bye Mr. Snyder.

(Crutchy leaves, realizing his mistake. THAT NIGHT- The newsies are making signs for the rally. Dutchy’s sign says ‘STRIKE’)

DUTCHY: So, did I spell it right, Kloppman?

KLOPPMAN: Very good, very good.

(Snyder enters and starts going through Kloppman’s book)

KLOPPMAN: Excuse me. Can I help you?

SNYDER: You have a boy who calls himself Jack Kelly? I wish to see him

KLOPPMAN: Jack Kelly? Never heard of him. Never heard of him. Any of you boys ever hear of a Jack Kelly?

SPECS: That’s an unusual name for these parts.

(Jack enters, but Swifty stops him and points Snyder out to him)

RACETRACK: Oh, you mean Jack Kelly. Yeah, he was here, but he put an egg in his shoe and beat it.

SNYDER: I have reason to believe he’s an escaped prisoner, possibly dangerous.

KLOPPMAN: Oh, dangerous? I better look in my files. This way please.

(Kloppman distracts Snyder and Jack exits. The boys hold up signs to hide him)

RACETRACK: Give to the Newsies Strike fund, Mister?

(Snyder hands Racetrack a coin. THE NEXT MORNING- Sarah wakes up and looks out the window. She sees Jack on the fire escape)

SARAH: Did you sleep out there all night?

JACK: Yeah

SARAH: Why didn’t you wake us up?

JACK: Well, I didn’t want to disturb nobody. Besides, it’s like the Waldorph out here. Great view. Cool air

SARAH: Go up on the roof.

(Jack leaves so Sarah can get dressed. While he waits, he boxes with some stockings and steals a tomato off a plant. Sarah enters with a basket.)

SARAH: Are you hungry?

JACK: Yeah

SARAH: Good. I made you breakfast

(She lays down a clothe and gets the food and milk.)

SARAH: Papa’s so proud of you and David. You should hear him talking about Jack Kelly, strike leader, who occasionally takes his meal with us.

JACK: Well, this is one strike leader who’s gonna be very happy when it’s all over and I can get outta here and go to Santa Fe. I mean, there’s nothing for me to stay for, is there? You know, you should se Santa Fe, everything’s different there. It’s all bigger. The desert, the sky, the sun

SARAH: It’s the same sun as here

JACK: Yeah, it just looks different

SARAH: I should get ready for work

JACK: Sarah? I’m just not used to having whether I stay or whether I go matta to anybody. I’m not saying it should matta to you. I’m just saying, well, does it? Matta?

(Pulitzer is in his office with the Mayor, the Police Chief, Snyder and Seitz. He is looking at the paper and has Jack’s face circled.)

MAYOR: Of course, the city is very concerned that this event doesn’t get out of hand. But…Chief?

CHIEF: We can’t just charge in there and break it up, Mr. Pulitzer. We’ve got no legal cause.

MAYOR: Legal cause.

PULITZER: Would the fact that this rally is organized by an escaped criminal be cause enough, mayor?

MAYOR: Escaped criminal?

PULITZER: A fugitive from one of your prisons, mayor. A convicted thief. Been living at large for some time under the allis of Jack Kelly. What’s his real name?

SNYDER: Sullivan. Francis Sullivan. Your honor. I would have caught him before now, but..

PULITZER: You know Warder Snyder, don’t you mayor? I believe you know him because you appointed him.

MAYOR: Yes. Well, if this boy’s a fugitive then the chief can quietly arrest him.

PULITZER: No, no, no, no! Not quietly! Not quietly! I want an example made. I want this rabble he’s roused to see what happens to those who would dare to lead. They should see justice and action.

MAYOR: Arrest him at the rally?

PULITZER: By the way, mayor, a few friends for cards tonight. Newspaper friends. Billy Hearst, Gordon Bennett. Perhaps you’ll join us.  Talk about the coming election.

MAYOR: I’d be honored.

(Newsies are gathering outside Irving Hall. Inside, Jack, David and Spot are on stage. Jack quiets everyone)

JACK: Carryin’ the banner!

(The newsies stand up and cheer.

MEANWHILE- In Pulitzer’s study, men are sitting at a table, playing cards. Pulitzer leads the mayor around the table)

PULITZER: You know Gordon, mayor. Mr. Bennett of the Tribune. Mr. Taylor of the Times. Of course, you know Mr. Hearst. This is a new member of our little group, Mr. Gammon. He just came back from Europe. Mr. Gammon owns the New York Sun.

(Back in the theater, Jack is giving a speech.)

JACK: So, we’ve come a long way, but we ain’t there yet and maybe it’s only gonna get tougher from now on. But that’s fine, we’ll just get tougher with it. But also, we gotta get smart and start listening to my pal David, who says ‘stop soakin’ the scabs’.

RACETRACK: What are we supposed to do to the bums? Kiss ‘em?

SPOT: Any scab I see I soak ‘em. Period.

DAVID: No, no. That’s what they want us to do. If we get violent, it’s just playing into their hands.

SPOT: Hey, look. They’re gonna be playing with my hands, alright. 'Cuz it ain’t what they say, it’s what we say. And nobody ain’t gonna listen to us unless we make ‘em.

(Newsies in the crowd take different sides and start to argue.)

JACK: You got no brains. Why we starting to fight each other? It’s just what the big shot’s wanna see. That we’re street rats! Street rats with no brain’s. No respect for nothing, including ourselves! So, here’s how it’s gonna be. If we don’t act together, then we’re nothing. If we don’t stick together, then we’re nothing. And if we can’t even trust each other, then we’re nothing.

KID BLINK: Tell ‘em Jack!

JACK: So, what’s it gonna be?

RACETRACK: We’re with you Jack.

JACK: So, what about you, Spot?

SPOT: I say that what you say is what I say.

(The spit-shake. All the newsies cheer. The curtains open and Medda enters. The cheering gets louder.)

MEDDA & NEWSIES: High times, hard times Sometimes the living is sweet And sometimes there’s nothing to eat But I always land on my feet So when there’s dry times I wait for high times and then I put on my best And I stick out my chest And I’m off to the race’s again!

MEDDA: Hello, newsies. What’s new?

(Outside, the Crib and police are gathering. Snyder enters)

MEDDA: So your old lady don’t love you no more So you’re afraid there’s a wolf at your door So you’ve got street rats that scream in your ear

MEDDA & NEWSIES: You win some, you lose some my dear, Oh… High times, hard times Sometimes the living is sweet And sometimes there’s nothing to eat But I always land on my feet So when there’s dry times I wait for high times and then I put on my best And I stick out my chest And I’m off to the races again

MEDDA: I put on my best!

NEWSIES: I put on my best!

MEDDA: And I stick out my chest

NEWSIES: And I sticks out my chest

MEDDA: And I’m off

NEWSIES: And I’m off

MEDDA: And I’m off

NEWSIES: And I’m off

MEDDA: And I’m off

ALL: To the races again!

(The police block off the entrance to the theater. Denton sees Snyder and tries to keep him busy)

DENTON: Excuse me. Aren’t you Warden Snyder? Bryan Denton of the Sun. How do you do, sir?

(David sees Snyder and tells Spot)

DENTON: I heard about your wonderful work with the children and I wondered if I might get an interview with you

(David rushes through the crowd to Jack)

DAVID: Jack! Jack! It’s Snyder!

JACK: What?

DAVID: It’s Snyder. Right there!

(Denton tries to distract Snyder one more time. This time with his camera)

DENTON: Let me get that correct. That’s Snyder, as in snide? Smile sir!

(The flash blinds him for a minute, then he blows his whistle.)

JACK: Medda, thanks. I gotta run.

(Cops come in and the newsies scatter. Jack take’s Sarah’s hand and pulls her through the crowd. Racetrack gets Medda to safety and start to leave)

MEDDA: No! Stay with me!

(A huge man kicks Racetrack in the stomach and punches him out. Medda breaks away from her maid and slaps the man)

MEDDA: No! No! For God’s sake! He’s just a child! Can’t you see that? Racetrack!

(Medda is pulled back and Racetrack is dragged away. Jack and David get Sarah and Les to safety. Then turn back to fight. Everywhere they go, they are surrounded by cops or the crib. By Medda’s swing, they meet up with Snyder. David sits on the swing.)

DAVID: Push me!

(Jack shoves David, who hits Snyder in the face.)

DAVID: Get out of here! Go!

(Jack runs as David and some other newsies hold Snyder off. Jack and Kid Blink run outside and find they are surrounded by cops. One of them grabs for Jack, but Kid Blink shoves him away.)

KID BLINK: Beat it!

(Jack runs back inside. Kid Blink gets hit with a club and is dragged away. Jack starts to run up the stairs, but a man meets him at the top and punches him in the chin. Jack falls back and is caught by cops. THE NEXT DAY- the newsies are in court.)

BAILIFF: All rise. All rise. Court is now in session. Judge E.A. Monahan presiding. MONAHAN: Are any of you boys represented by council? No? Good, that will move things along considerably.

SPOT: Hey, yer honor, I object!

MONAHAN: On what grounds?

SPOT: On the grounds of Brooklyn, yer honor.

(The newsies crack up laughing. Monahan bangs on his desk.)

MONAHAN: I fine each of you five dollars, or two weeks confinement in the House of Refuge.

RACETRACK: Whoa. We ain’t got five bucks. We don’t even got five cents. Hey, yer honor, how ‘bout I roll you for it. Double or nothing?

MONAHAN: Alright. Move along, move along.

(Denton, David and Les enter)

DENTON: Your honor, I’ll pay the fines. All of them.

DAVID: Hey, you fellas alright? Where’s Jack?

DENTON: Look, we’ve got to meet at the restaurant. Everybody. We have to talk.

MONAHAN: Pay the clerk. Move it along.

(Jack is lead in, handcuffed)

JACK: Hey fellas!

RACETRACK: Hey, Cowboy! Nice shiner!

JACK: Hey, Denton. I guess we made all the papes this time. So, how’s my picture look?

DENTON: None of the papers covered the rally. Not even the Sun.

BAILIFF: Case of Jack Kelly. Inciting a riot. Assault. Resisting arrest.

SNYDER: Judge Monahan, I’ll speak for this young man.

JACK: You two know each other. Ain’t that nice.

MONAHAN: Just move it along, Warden Snyder.

SNYDER: This boy’s real name is Francis Sullivan. His mother’s deceased. His father’s a convict in the state penitentiary. He’s an escapee from the House of Refuge where his original sentence for three months was extended to six moths for disruptive behavior.

JACK: Like demanding we eat the food you steal from us.

SNYDER: Followed by an additional six months for attempted escape.

JACK: Attempted? Last time it wasn’t an attempted escape. Remember Snyder? Remember me and Teddy Roosevelt? Remember Roosevelt and the carriage?

SNYDER: Therefore, I ask that he be returned to the House of Refuge.

JACK: What? For my own good, right? Move it along? For my own good and for what he kicks back to you!

SNYDER: I ask that the court order his incarceration until the age of twenty-one, in the hope that we may yet guide him to a useful and productive life.

MONAHAN: So ordered.

LES: No!

(Jack is led away. Snyder follows, then turns and smiles at the judge. LATER- The newsies sit in Tibby’s. Denton enters. They greet him)

DAVID: Why didn’t the Sun print the story?

DENTON: Because it never happened

RACETRACK: What do you mean it never happened? You were there!

KID BLINK: You wrote it!

DENTON: It’s not in the papers, it never happened. The owners decreed it not be in the papers, therefore… I came to tell you fellas good bye.

DAVID: What happened? Did you get fired or something?

DENTON: No, I got reassigned back to my old job as the Sun’s ace war correspondent. They want me to leave right away. The owner thinks I should only cover the really important stories. Wish me luck fellas. At least half of what I wish for you. They don’t always fire. I would be black balled from every paper in the country. I’m a newspaper man. I have to have a paper to write for. This is the story I wrote about the rally. I want you to read it at least. This should cover it

(Denton pays the waiter and leaves. David crumples the story up and throws it on a table)

DAVID: We get Jack out of the Refuge tonight. From now on, we trust no one but the newsies.

(The newsies get up and leave. Les uses Denton’s article to wrap his unfinished hot dog in. THAT NIGHT- David, Les, Mush, Kid Blink, Racetrack and Boots sneak into the Refuge’s gates. Kid Blink had a rope.)

DAVID: That’s the window where we saw Crutchy

(They are about to move when they see Snyder leading Jack into a carriage.)

LES: It’s Jack!

MUSH: Where they takin’ him Dave?

DAVID: Only one way to find out. I’ll meet you guys at the square. Racetrack, watch him.

(David hides in the back of the carriage, which goes to Pulitzer’s house. Seitz is waiting outside for them.)

SEITZ: Get him inside

(Snyder takes Jack’s arm and leads him in. David pulls out the pin that attaches the horses to the carriage. INSIDE- Seitz leaves Jack in Pulitzer’s study. Pulitzer enters.)

PULITZER: Sit. Know what I was doing at your age, boy? I was in a war. The Civil War.

JACK: Yeah, I heard of it. So, didja win?

PULITZER: People think war is about right or wrong and not power.

JACK: Yeah, I heard of that too. I don’t just sell your papes, Joe. Sometime I read ‘em.

PULITZER: Power of the press is the greatest power of them all. I tell this city how to think. I tell this city how to vote. I shape it’s future.

JACK: Yeah? Well, right now I’m only thinking about one future, and that’s mine.

PULITZER: So am I boy. I have the power to see you stay locked in the Refuge

JACK: And I have the power to break out again.

PULITZER: Or, I can see you released tomorrow, free and clear, with more money in your pockets than you can earn in three lifetimes.

JACK: Are you bribin’ me, Joe?

PULITZER: No

JACK: Well, it’s been real nice chattin’ with ya, Joe. But I got to be goin’ now.

PULITZER: You listen to me, boy. You just shut your mouth and listen to me! You shut up and listen to me for once! No game I’m playing.  You work for me til the strike’s over, and it will end, boy, make no mistake, with or without you. Then you go where ever you want to buy a ticket for. Away from the Refuge, these foul streets. Free. With money to spend and nobody chasing you.

JACK: We must have you scared pretty bad, old man

PULITZER: I offer you freedom and money just to work for me again. To your friends, I won’t be so kind. Now, you’re partner, what’s his name? David. I understand he has a family. What do you think the Refuge will do to him? And it will be you who put him there. And all the others, after all, you’re their leader. Go back to the Refuge tonight, think about it. Give me your answer in the morning.

(Jack leaves. As he is being taken outside, Snyder lets go of him for one second)

DAVID: Jack! Come on! Come on!

(Jack slides down the railing and jumps over it. He and David take off)

SNYDER: After him!

(The driver whips the horses, who take off without the carriage.)

SEITZ: Don’t worry. He’s got no place to go

(David and Jack run into an alley. Jack slows down)

DAVID: Come on! Keep running!

JACK: You shouldn’t have done this, Dave. They could put you in jail

DAVID: I don’t care

JACK: Come here. What about your family? What happened to them if you go in jail. You don’t know nothing about jail. Now, thanks for what you done, but you get out of here

DAVID: I don’t understand

JACK: I don’t understand either, but just get outta here!

DAVID: No!

JACK: Go!

(David turns slowly and walks away. Jack leans against a wall.  Suddenly, he’s leaning against a wall in the Refuge.)

JACK: Santa Fe My old friend I can’t spend my whole life hidin’ You’re the only light that’s guidin’ me today

(Crutchy opens a little slot in the door. He has a potato)

CRUTCHY: Psst! Jack! Look! I snitched it off Snyder’s plate while I was serving him. It’s the biggest one. Oh, Mr. Snyder was eating good tonight. You know the stuff that we don’t ever get? He got potatoes, olives, liver, bacon, sauerkraut. And guess what I done to his sauerkraut, huh?

JACK: So, what’d it get ya?

CRUTCHY: Oh, anudder three months, probably, but you can’t let ‘em get you, right Jack? That’s what you always said...

JACK: We was beat when we was born

(Crutchy frowns and closes the slot)

JACK: Will you keep a candle burnin’ Will you help me find my way? You’re my chance to break free And who knows when my next one will be Santa Fe, Wait for me

(The newsies are picketing outside the World building.)

NEWSIES: Stop the World! No more papes! Stop the World! No more papes! (etc.)

(The police form a barricade. Some of the newsies start to fight amongst themselves.)

DAVID: Race! Help me! I need some help!

RACETRACK: Alright! I ain’t deaf!

SPOT: Hey, hey, hey! Break it up. Hey, Race, come here.

(Weasel leads Jack out. He’s in a new suit)

RACETRACK: What?

SPOT: Just tell me I’m seeing things. Just tell me I’m seeing things.

RACETRACK: No, you ain’t seeing things. That’s Jack. What’s he doing?

SPOT: He’s dressed like a scabber!

MUSH: Jack? Jack, look at me, will ya? Come on, it’s me, Mush. Look at me. What are you doin’, Jack?

KID BLINK: This ain’t happening. This can’t be happening. What are you doin’ Jack? Come on, what are you doin’?

BOOTS: Come on. What is this? Where’d you get them clothes?

WEASEL: Mr. Pulitzer picked them out himself. A special gift to a special new employee.

SPOT: He sold us out!

RACETRACK: I’ll give you a new suit! You bum! I’ll soak ya!

SPOT: Hey, hey, hey! Let me get my hands dirty. Come here you dirty rotten scabber! Traitor!

(Some newsies pull Spot away. David stares at Jack)

WEASEL: Aww. You wanna talk to him? Come on, come on. Sure. Got right ahead.

(David walks up to Jack)

DAVID: So, this is why you didn’t escape last night. You’re a liar! You lied about everything. You lied about your father being out west, ‘cause he’s not out west! You didn’t even tell me your real name!

JACK: So? What you wanna do about it Dave?

DAVID: I don’t understand you.

JACK: Oh, so let me spell it out for ya. You see, I ain’t got nobody tucking me in at night, like you. It’s just me, I gotta look out for myself.

DAVID: You had the newsies..

JACK: Oh, what’d being a newsies ever give me but a dime a day and a few black eyes? You know, I can’t afford to be a kid no more, Dave.  For the first time in my life, I got money in my pockets. Real money. Money, you understand? I got more on the way and as soon as I collect, I’m gone, I’m away. Alright?

DAVID: Well, that’s good. That’s good because we don’t need you! We don’t need you! All those words you said, those were mine.

JACK: Yeah, but you never had the guts to put them across yourself, didja?

DAVID: I do now

(Dave starts to go back to the newsies, then turns to look at Jack again.)

JACK: What’sa matta? Got a problem?

(David rushes towards Jack, but Weasel and a few policemen pull him away.)

WEASEL: Maybe you’d like a new suit of your own, huh?

DAVID: Never! Never!

WEASEL: Get outta here! Get outta here!

DAVID: I’m not like you!

(The cops surround Jack so the newsies can’t get him. The newsies watch him go.)

SPOT: Traitor!

KID BLINK: You make me sick!

BOOTS: I trusted you!

RACETRACK: Seize the day, huh Jack?

LES: He’s foolin’ ‘em, so he can spy on ‘em or something. Yeah, yeah, that’s it. He’s foolin’ ‘em!

RACETRACK: Yeah, he’s spying on then, kid.

(Sarah is going through a pile of lace. She finds Les’s old hot dog)

SARAH: Les. What is this?

LES: Savin’ it

(He takes the hot dog and leaves the article in Sarah’s hands. She looks at it.)

SARAH: David. It’s Denton’s article. ‘The Dark Truth; Why Our City Really Fears The Newsies Strike’ by Bryan Denton. ‘Last night I saw naked force exercised against mere boys, the newsies, who were…’

(David climes out the window, slams it, then storms off the fire escape. THAT NIGHT-Weasel leads Jack to his new bedroom, the basement of the World building.)

WEASEL: One trick, Cowboy, and it’s right back to the Refuge. Please.

(He throws a dust covered sheet to Jack.)

WEASEL: Ah. You gonna be requiring anything this evening?  Huh? No? Aww..tick tick. Well then, I ought to be saying good night.  Remember, on trick and I go straight to Mr. Pulitzer.

(He exits, leaving Jack alone. MORNING- Jack goes to collect his papers. Oscar and Morris come up behind him.)

WEASEL: Sleep well Cowboy?

OSCAR: Come with us Cowboy. We’re gonna go fix you’re pal, Davey. Fix him so he can’t walk.

MORRIS: Shut up

(Jack starts to go after them.)

WEASEL: Ah! Lift one finger and it’s right back to the Refuge. Next!

(Jack picks up his papers and leaves. LATER THAT MORNING- Sarah is walking to work with Les. She has a basket full of lace.)

SARAH: Morning LADY: Good mornin’, dear.

(Oscar ‘bumps’ into her)

OSCAR: ’Cuse me, Sweetface.

(She continues to walk with Oscar behind her. Morris steps out in front of her.)

MORRIS: Where’s your little brother, Tootsie? Where’s little Davey?

(Sarah tries to get by, but the brothers push her around.)

LES: Leave my sister alone!

(He shoves Oscar. Morris holds onto Sarah while Oscar pushed Les into a puddle.)

SARAH: Stop it! Leave him alone!

(Oscar shoves Les into a pile of baskets. Sarah shoves Morris away.)

SARAH: You stupid ape.

(She punches him, but it doesn’t hurt him. She runs into the alley. The brothers catch her. David sees Les and helps him up.)

DAVID: What’s the matter? Are you alright?

LES: I’m alright, I’m alright. Help Sarah!

SARAH: Run Davey!

OSCAR: Yeah, run Davey. We got the best part of your family right here.

(David tackles Oscar.)

SARAH: Let go of me!

(Morris throws her to the ground. Oscar punches David)

SARAH: Stop it! Les! Stop, you’re hurting him! No!

(Morris pulls out a pair of brass knuckles and puts them on.)

SARAH: Leave him alone!

(Oscar continues to punch David. Les runs to Sarah. Jack is walking down the street near the alley.)

SARAH: Stop it! Leave him alone!

(Jack hears her cries and runs, dropping his papers as he goes. Oscar holds David as Morris gets ready to hit him with the knuckles.  Jack comes up behind Morris and punches him. David gives Oscar an elbow in the stomach. Jack throws Morris into a box)

JACK: Get over here.

(Jack grabs Oscar)

JACK: Remember Crutchy?

(Jack head-butts him and he falls near Morris. Jack goes to help Sarah up)

JACK: You alright?

SARAH: Yeah.

(The hug briefly)

SARAH: David!

(Jack goes to David and checks him out before helping him up. Oscar and Morris finally get up.)

MORRIS: You’d better run, Cowboy. We’re gonna tell uncle Weas. You’ll be back in the Refuge before suppertime!

OSCAR: Run, you lousy coward, run!

(Jack starts to go after them, but Sarah stops him. Les runs to the end of the alley.)

LES: Go one! Get outta here! Don’t come back! You hear me?

DAVID: What? You couldn’t stay away?

JACK: Well, I guess I can’t be something I ain’t.

DAVID: A scab?

JACK: No, smart.

(The four of them go to Denton’s apartment. Jack knocks on the door. Denton opens it.)

JACK: Did you mean what you wrote here? ‘Bout all these sweat shop kids listening to me?

DENTON: I don’t write anything I don’t mean. Come on in. I’m just packing a few things.

(They enter. David closes the door.)

DENTON: So, yes, I mean it. The city thrives on child labour. A lot of people make money that way. They’re terrified that the newsies strike will spread.

JACK: Well, there’ really not much chance of that as long as they got the power

DENTON: Sometimes, all it takes is a voice, one voice. Then a thousand. Unless it’s silenced.

JACK: Why can’t we spread the strike? Have another big rally and get the word out to all the sweat shop kids? Why not?

DAVID: What are we going to do? Print an ad in the newspaper?

JACK: No! We’ll do better than that. We’ll make our own paper. We tell ‘em they gotta join us. Isn’t that a good idea?

DAVID: Yeah, it is. But what do we know about printing a newspaper?

JACK: Nothing, but our man Denton…

DAVID: Yeah, but our man Denton has something more important to do. He’s going to be an ace war correspondent, right Denton?

DENTON: Alright. Where do we start?

(They sit at a table)

JACK: Alright, we gotta move fast. Now, we’ll need the newsies to circulate.

DENTON: There’s something else that we need. We need a printing press.

JACK: Just so happens I know a guy with a printing press.

(Jack, Sarah, David and Denton enter the basement of the World building.)

SARAH: You’ve been living here?

JACK: Shh. They’re right above us. Weasel catches us here, we’re all in the slammer.

(Jack uncovers a press)

DENTON: Alright! A Platen press. Looks like old man Pulitzer never threw anything away.

DAVID: Is it going to work?

DENTON: It better. We have a deadline.

(They start printing their papers.)

DENTON: This is the story you wanted to write, well tonight is the night that you can

JACK: Just get this done and by dawn’t early light you can finish the fight you began

DAVID: This time we’re in it to stay

SARAH: Think about seizing the day

JACK: Think of that train as she rolls into old Santa Fe   Tell her I’m on my way

NEWSIES: See old 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 begging for bread to survive Joe, if you’re still counting sheep Wake up and read ‘em and weep You’ve got your thugs With their sticks and their slugs Yeah, but we got a promise to keep Once and for all Something tells me the tide will be turning Once and for all There’s a fire inside me that wont stop burning Now that the choices are clear Now that tomorrow is here Watch how the mighty will fall For once and for all!

(Jack hands bundles of papers to the newsies. Denton and Jack crawl out the window.)

DENTON: It’s awfully nice of Mr. Pulitzer to let us use his press

JACK: Yeah, I just hope I get to thank him for it someday.

(The newsies spread out and hand the papers to various work kids.)

NEWSIES: This is for kids shining shoes on the streets With no shoes on their feet everyday This is for guys sweating blood in the shops While their bosses and cops look away This is to even the score We ain’t just newsies no more This ain’t just kids with some pie in the sky This is do it or die This is war! Once and for all We’ll be there to defend one another Once and for all Every kid is a friend Every friend a brother Five thousand fists in the sky Five thousand reasons to try We’re going over the wall Better to die than to crawl Either we stand or we fall For once Once and for all!

(Denton is with Teddy Roosevelt, who has just read the Newsies Banner)

ROOSEVELT: Disgraceful, Denty. Those poor boys.

DENTON: I thought you’d feel this way, Governor.

ROOSEVELT: And I did nothing, until now

DENTON: Good.

(They shake hands and Roosevelt is handed his hat and walking stick. LATER THAT DAY- The newsies have gathered around the Horace Greeley statue None of the work kids have showed up.)

MUSH: So, when's the others coming, kid?

JACK: They ain’t coming. Ain’t gonna be nobody but us.

SNITCH: Come on, Jack.

SPECS: Have hope, Jack.

(Les walks away from the group.)

LES: When the circulation bell starts ringing, will we hear it?

RACETRACK: Nah. What if the Delancey’s come out swinging, will we hear it?

LES: No!

RACETRACK: That a boy!

WORK KIDS: When you’ve got a million voices singing Who can hear a lousy whistle blow? And the World will know!

(Work kids come in from all directions. The newsies cheer. Spot enters, leading in all of the Brooklyn kids.)

SPOT: Brooklyn!

NEWSIES & WORK KIDS: The World will feel the fire and finally know!

(Everyone cheers. The newsies and Sarah make their way threw the crowd.)

WORK KIDS: Strike! Strike! Strike! (etc.)

(The newsies make their way to the front of the World Building.)

RACETRACK: Dear me. What have we here?

(Seitz and a group of policemen are by the entrance, looking out into the crowd. INSIDE- Pulitzer is at his desk. Seitz brings in Jack and David. Jonathan grabs his arm and whispers.)

JONATHAN: It’s awful. Everyone’s calling. Mr. Hearst, and Mr. Bennett, and the mayor in such awful language. The city’s at a stand still and they all blame the chief. It’s like the end of the World, only I didn’t say that.

(Jack and David go to Pulitzer’s desk, where Jack pulls out a copy of the newspaper.)

JACK: Extry, extry, Joe. Read all about it.

PULITZER: I promised that if you defied me, I’d break you. I’ll keep that promise, boy. Now, I gave you a chance to be free. I don’t understand. Anyone who doesn’t act in their own self interest is a fool.

DAVID: Then what does that make you?

PULITZER: What?

JACK: Oh, this is my pal, Davey. The Walkin’ mouth

DAVID: You talk about self interest, but since the strike, your circulation’s been down 70%. Everyday you’re losing thousands of dollars just to beat us out of one lousy tenth of a cent. Why?

JACK: You see, it ain’t about the money, Dave. It Joe gives in to nobodies like us, it means we got the power. And he can’t do that, no matter what it costs. Am I right, Joe?

PULITZER: I sent for the police. They must be here by now. Send them in, Seitz

JACK: I’m not going back to jail, Joe. Look out here. Right out here is where the power is.

(Jack opens the window. All the kids are still yelling Pulitzer covers his ears)

PULITZER: Close the window! Close the window! Go home! Go home! Go home!

JACK: I can’t hear you , Joe!

PULITZER: Go home! Go home to your mothers and fathers! Go home!

JACK: I don’t hear ya!

PULITZER: Now you listen to me!

JACK: Maybe you should listen!

PULITZER: No, no! You listen to me!

JACK: No! You listen!

PULITZER: Close the window and shut up!

JACK: There’s a lot of people out there and they ain’t just gonna go away. They got voices now and they’re goin’ be listen to. Putting them in jail is not going to stop them! That’s the power of the press, Joe.

(He closes the window. Pulitzer takes his hands away from his ears)

JACK: So thanks for teaching me about it.

SEITZ: Those kids put out a pretty good paper there Chief.

(Pulitzer picks up the paper and reads it.)

PULITZER: I ordered a printing ban on all strike matters. Now, who defied me? Who’s press did you use to print this on? Who’s?

JACK: Well, we only use the best, Joe. So, I just want to say, thanks again.

(Outside, Seitz’s opens the gates. David starts to come out, Jack is behind him.)

SPOT: Hey, fellas, they’re over here!

(The newsies gather around and start asking questions.   Jack bends over and whispers in Les’s ear.)

JACK: The strike’s over. We beat ‘em.

(Jack lifts Les onto his shoulders and look out towards all the children.)

JACK: We beat ‘em!

(The crowd cheers. All the newsies hug and pat each other on the back Weasel, Oscar and Morris put on their hats and leave. A paddy wagon pulls up. Snyder is sitting in the front seat with two cops.)

LES: Jack! Jack, it’s the bulls. It’s the bulls. Let me down!

SWIFTY: Down Jack. Get down!

KID BLINK: Hide Jack

DENTON: Jack, it’s over. No, no. You don’t have to run. Not anymore. Not from the likes of him. Come on, Come on.

(A cop opens the paddy wagon and the kids from the Refuge come out. The last one is Crutchy. A cop leads Snyder into the paddy wagon. Crutchy taps him on the back.)

CRUTCHY: Ah, remember what I told ya, Mr. Snyder. The first thing ya do in jail, make friends with the rats. Share what you got in common.

(Snyder climes in. A police officer is about to close the door.)

CRUTCHY: Officer, may I please?

POLICE OFFICER: Sure kid.

(Crutchy hands his crutch to a kid. He slams the door and locks it. He gets his crutch back and goes over to Jack and the others.)

JACK: Heya Crutchy.

DENTON: You won’t be seeing much of him anymore. Say goodbye Warden.

NEWSIES: Goodbye Warden!

(The paddy wagon pulls away)

CRUTCHY: Oh, Jack, you ought tah seen it! He comes stormin’ into the Refuge waving his walking stick like a sword and he’s leading in this army of lawyers and cops.

JACK: Who comes stormin’ in?

CRUTCHY: You know, your friend. Him! Teddy Roosevelt

(the newsies are amazed)

DENTON: The Governor’s very grateful that you brought this problem to his attention. I said you might need a lift somewhere. He’d be happy to oblige. Anywhere you want. And this time, you ride inside.

JACK: So, can he drop me at the train-yards?

DENTON: Yeah, if that’s what you want.

(They make their way to Roosevelt’s carriage. Jack shakes his hand and climes in. Boots throws Jack a bag. David, Les and Sarah watch sadly. The work kids follow the carriage as it leaves, leaving the newsies alone. The circulation bell begins to ring.)

MUSH: Try Bottle Alley or the harbor

RACETRACK: Try Central Park, it’s guaranteed

CRUTCHY: Try any banker, bum or barber

KID BLINK: They almost all knows how tah read

BOOTS: Summer stinks

SKITTERY: And winter’s waiting

SPECS, BUMLETS & SNIPESHOOTER: Welcome to New York

SNODDY, PIE EATER, SWIFTY, ITEY & JAKE: Boy ain’t nature fascinating

NEWSIES: When youse gotta walk

(The newsies line up for their papers. David is first in line. He slaps down a coin.)

DAVID: Hundred papes.

MUSH: Alright Davey.

(The newsies hear cheers and turn to see the carriage returning. All the work kids are following.)

MUSH: Dave, he’s back!

JACK: Thanks for the advice, Governor. Like you said, I still got things to do. Besides, I got family here.

(He gets out of the carriage and gives Les his cowboy hat. All the newsies yell and talk at the same time.)

JACK: So, how’s the headline today?

DAVID: Headlines don’t sell papes, newsies sell papes.

JACK: Come here, Davey.

(Jack holds out his hand. David spits in his and shakes it. Sarah makes her way through the crowd. Her and Jack kiss. All the newsies cheer and yell. The carriage pulls away, with Roosevelt and Spot in it. Spot tips his hat and waves as he leaves.)

SARAH: Bye Spot!

JACK: Go back to Brooklyn ya hear!

(David, Jack, Sarah, Les and Crutchy follow the carriage. Denton shakes David’s hand, then goes to the side and starts writing. The newsies, with their papers, dance as they leave.)

GROUP 1: It’s a fine life Carryin’ the banner It’s a fine life Carryin’ the banner It’s a fine life Carryin’ the banner It’s a fine life Carryin’the banner

GROUP 2: You got ‘em, Cowboy You showed ‘em how boy! You got ‘em Cowboy You showed ‘em how boy!

[somedayonbroadway]

Lilo and Stitch AU

Okay, so here’s my Lilo and Stitch AU for both @disneygirl626​ and @dragonflysobright-seethemfly​. I absolutely adore this one. It does involve baby Race and that’s always fun to write. And yes, Race and Jack are going to be from Hawaii.

Characters

Jack Kelly — Nani

Racetrack Higgins — Lilo

Crutchie Morris — Stitch

Katherine Plumber — David

Warden Snyder — Captain Gantu

Todd Kloppman — Cobra Bubbles

Henry — Pleakley

Weisel — Jumba

Okay so…

Somewhere up in space, far far away, there is a mad scientist who creates genetic experiments out of aliens that he captures from other planets, most of the time just after they’re born. This alien, Weisel (that's his whole name. He’s an alien) experiments for years before he is finally arrested after his latest experiment, experiment number 626. He is charged with the experimentation of a young child, stolen away from a family that was killed moments afterward.

During the experimentation, this young alien loses one of his legs. He adapts quickly, growing two more legs that he can retract into his body. This child is of a shape shifting species, his skin naturally blue and gold. After the experimentation, where he grew up as this species learns and adapts very quickly, he became erratic and dangerous, a means of destruction.

Having no alternative option, 626 (who was never given another name) is sentenced to be executed. He doesn’t fully understand this. All 626 knows is that he’s placed in a small capsule and needs to survive. So he does, fighting his way out and escaping in a pod as his kidnapper is placed in prison having witnessed the whole thing. Weisel is pleased with his creation, noting that 626 is randomly heading in the direction of Earth.

After 626 escapes, a bounty hunter, Snyder, loyal to the Galactic Federation, offers to hunt the experiment down and dispose of him, seeing 626 as a creature unworthy of saving. The head of the federation asks him to wait, asking another member of the federation, a federal agent who is an “Earth Expert”, to take Weisel and find the experiment without causing harm to Earth, with whom they were supposed to protect according to documents they’d signed a decade ago.

Simply living off of instinct (and maybe a bit of sadistic adrenaline) 626 crash lands on Earth, getting hurt by a truck, but surviving the crash easily with his modified strength and healing power. As the driver figures out he has to check and see what he’d hit, the alien catches sight of a puppy, cowering away from him in some nearby grass and transforms himself down to look like that animal, though his still has a streak of blue running down his back as the rest of him remains a golden shade. (He does look more like Stitch than an actual puppy, obviously. But he’s doing his best here.) The driver calls a local shelter and 626 lets himself be taken in, unsure of what’s really happening.

Meanwhile, Kaua’i, Hawaii, a young man, nineteen years old, is struggling to gain permanent custody of his six year old baby brother, as both of their parents had recently been killed in a car crash. Jack is having a hard time making ends meet with only a job as a waiter at a local luau to tie him and his brother over.

The baby brother, Tyler James, is an odd child. He’s socially awkward, having odd interests and thoughts about life. The kid has always had a rough time making friends, mostly scaring them off with weird facts about the island they live on and the ocean surrounding them. Though he tries to fit in, he often finds himself feeling alone, prompting him to make his own toy dolls and pretend that they’re his friends instead, worrying his big brother Jack who only wants him to be happy.

Every morning, Jack runs to work after dropping his brother, whom he affectionately calls Racer because of his speed and his love to run, off at the beach right across from his school. Race loves to explore the island, knowing the entire thing like the back of his hand. In the morning, Race likes to go swimming, feeding Pudge (a fish that he believes to control the weather) a PB&J sandwich, the same one Jack makes for him everyday for lunch. He knows he’s not gonna eat it, so he hopes it’ll keep the sun in the sky.

Dripping wet and all, Race goes to school, leaving puddles around him, making his classmates slip, only adding onto the hatred they held for him for being different. On this particular morning, Oscar Delancey, Race’s biggest bully, slips and blames Race for it. After a teacher finds them arguing, Oscar wrestling Race to the ground, being a year older and slightly bigger than him, they ask what happened and Race goes off on a rant about how he had to feed Pudge and how Pudge controls the weather. Oscar calls him crazy.

So Race bites him.

His teacher tells him he’d call Jack and Tyler cries, begging him not to as he’s often sent away from the other kids and he’s subconsciously getting tired of the isolation. Still the teacher insists, asking Race to wait outside.

Race runs away the second his teacher leaves him.

When Jack goes to pick him up, he finds Race gone and he immediately starts running home, knowing they had a meeting with their social worker that day and knowing what happened when Race gets into one of his “moods”. He nearly gets hit by a car. He kicks the bumper and screams at the driver, calling him a not so nice name and running off.

He finds that the doors to their house are bolted and nailed shut and one of their parents' old Elvis records is blaring throughout the living place. As Jack demands Race open the door, he peaks in through the mail slot to find his brother ignoring him. Frustrated, Jack starts threatening Race, like any brother would, telling him that when he got through with him he wouldn’t dare do this ever again, though both of them knew Jack would never lay a hand on the kid.

As he’s running around his home, trying every possible entrance only to run into one Todd Kloppman, introducing himself as a not so nice name, making Jack realize that he’d been in the car that had nearly hit him. Already horrified at this, Jack manages to play off the fact that he’ll have to let him in in a moment and he runs around the house, climbing in through an open window and prying the nails from the front door as quickly as he can to let the man in.

Upon walking into the house, Kloppman asks if Jack had left Race home alone and before Jack can explain, Todd finds Race practicing voodoo on the floor of the living room as Jack tries desperately to turn off the stove and the oven that Race had turned on, probably for no reason at all. Even after all of this, Race manages to tell Kloppman how well adjusted he was and how Jack fed him well. Trying to give him a silent encouragement, the kid accidentally tells Kloppman that he gets disciplined, implying that Jack had, at least at some point, hit him.

Todd then speaks to Jack alone, telling him that he only ever got called when things went wrong and then he gives Race a card, telling him to call if he was ever left alone again.

Race thinks nothing of it, hardly even paying attention to the man.

As he leaves, Kloppman informs Jack that this had not gone well and that Jack had three days to change his mind.

The second Kloppman leaves, Jack turns on Race and Race screams and runs, knowing he was about to be chased.

Eventually, Jack manages to set up a trap to catch Race and he holds him to him, not letting him run away, trying so hard to explain to Race why it was important for him to take these visits seriously. Race still doesn’t seem to get it, leading to another fight. Race locks himself in his room (well, not locks because he’s a child and his door doesn’t have a lock) and Jack throws himself down at the bottom of the stairs, trying desperately not to cry.

It only takes an hour for Jack to gather himself, heating up a plate of pizza for his baby brother and taking it to him, apologizing and holding Race in his lap while he eats, laughing with him a little as Race admits he likes Jack better as a brother than a dad. All Jack can do is kiss his head and hold him, unsure of what to say. Race calls them a broken family.

Before they know it, Race spots something in the sky, something he calls a falling star, but one that looks odd to Jack. Race calls the star and kicks Jack out of his room so he can make his wish. Jack sits just outside his door, listening to every heartbreaking word as Race wishes for an angel to be sent to him, one that wouldn’t leave him or make fun of him or treat him differently.

Little do they know, that shooting star is a fallen spaceship.

The next day, trying to make his brother feel better, Jack tales Race down to the animal shelter, telling him that he could pick out a pet and they would take care of it. Jack is only a little stressed out about funds but convinced himself that they could make it work.

Race goes back to pick out a puppy and finds a golden pup that’s laying all alone in the corner. He sees a lot of himself in this puppy that has a blue stripe running down his back and chooses him, telling the dog to follow him out. It does.

When they come out, Jack and the woman at the front counter are horrified at the sight of this deformed dog with a missing leg, but Tyler insists and Jack caves, unable to pass up the opportunity of seeing Race happy. So they take the thing home, unknowingly being watched and followed by two aliens who were after 626, now known as Crutchie by the odd little boy who named him.

Henry is the only thing that stops Weisel from harming Tyler to get to Crutchie.

Jack often lets Race wander around. After all, they live in a small town and he knows most of the people around. He gives Race a couple of dollars and tells Race to meet him at two. So Race shows Crutchie around the island.

Crutchie, who has been programmed to destroy, is looking for something to wreck, but finds nothing, as he’s looking for big cities who are already prone to bad things happening.

In the middle of town, Race runs into Oscar who immediately starts to belittle him only to get nearly bitten by Crutchie who ends up stealing his bike and trashing it, before they head to the luau to meet Jack.

The entire time they’d been exploring the island, Weisel and Henry had been keeping close and Crutchie knew it. For some reason he can’t explain, he feels the need to protect Race as well as himself. He likes Race and doesn’t want to hurt him.

The same cannot be said for Jack.

At the restaurant, Jack is able to feed Race for free twice a week so he often has lunch or dinner there.

At the luau, Katherine is up on stage, a fire dancer, entertainment for the luau. Jack is hopelessly in love with her but refrains from asking her out for the sake of fully adopting Race as his own. Race knows this and feels guilty for it. He tells Crutchie all about it, somehow knowing that Crutchie understands him. (How Crutchie knows English at this point is unknown, but like I said, he adapts fast).

While he’s working, Jack steps away from the table after begging Race to eat his food, trying to bribe him with dessert but only succeeding in getting Crutchie to hiss at him.

When Jack leaves, Weisel, against Henry’s warnings, tries to capture Crutchie, only resulting in chaos which Jack is blamed and fired for. Katherine tries to convince their manager to let Jack stay, but, unwilling to be humiliated in front of Race, Jack accepts it and scoops Race up, going home, Crutchie following closely behind them. When Race asks Jack if this was his fault, Jack brushes it off, telling Race that the manager was a vampire and that he wanted Jack to join an army of the undead. Race just shrugs and says he knew it.

When they get home, Jack loses it tries to remain calm but, after seeing Crutchie try and rip around the sofa, his anger catches up with him all at once as he tries to grab Crutchie and take him back to the shelter, getting a fight from both Crutchie and Race who’s never seen Jack like this before. Just as Jack gets Crutchie to the door, shouting that the dog hadn’t been there that long, Race counters that he hadn’t either and then he asks what happened to O’hana.

Jack breaks at that, missing his parents so badly as Crutchie calms down and Race rushes to hug Jack who brushes away his tears and promises that he’s okay, even though he couldn’t be farther from it. But he lets Race take Crutchie into his room to sleep where Race finds that Crutchie likes to build with his blocks and then destroy his own creations.

Watching from outside, Weisel is stunned by this, finding that Crutchie is still creating things, even though he may destroy them after. It goes against his programming.

The next morning, Jack wakes up to find Kloppman at his door, concerned about the job he lost and this new puppy that is untrained and seems to be causing nothing but trouble. Jack swears that he’ll find a job and takes Race out with him while looking, terrified the boy might get into more trouble without him.

Every potential job Jack might have is ruined by Crutchie who is still on the run from Weisel and Henry who are around every corner.

Even at the beach, where Jack finds there’s an opening for a lifeguard position, Crutchie manages to ruin it for him, chasing the people at the beach away. Jack is extremely dejected by this, but perks up when Katherine sits down next to him with two surfboards, offering him one as she challenges him to beat her to the water.

Jack scoops Race up on his way out and Race just giggles, loving it when Jack takes him surfing.

Reluctantly, needing to stay close to Tyler in order to ensure his own safety, he goes with them, despite his intense fear of water. To his surprise he ends up liking it and to Jack’s surprise, he ends up not minding that Crutchie’s there.

Jack loves being out on the water with Race. He used to take Race surfing with their parents all the time, always catching him in his arms when they wiped out. Race loves the ocean.

Seeing that Crutchie is out on the water and is in a vulnerable position, as he can’t swim and will sink instead of float, Weisel says that they’re going swimming, confusing Henry as they go to get Crutchie, managing to knock Jack and Race off of their board and get Jack hit in the head as they do, forcing Katherine to jump in and help them. When Jack recovers after a moment, Race panics and asks about Crutchie who did not resurface. But when Jack looks around for him, Crutchie breaks from the water and claws at Tyler who he ends up dragging down with him.

Jack dives down, kicking Crutchie off of Race and swimming him back to shore, coddling him as he cradled him to his chest and kissed him over and over again. (Jack does call Race baby. He’s always been really affectionate, even more so after they’re parents died). Katherine dives back down for Crutchie who she manages to save, though Crutchie awakes destructive and lashes out at Race, scratching into his shoulder.

When Jack looks up, he finds Kloppman watching them from afar and he asks Katherine to hold Race while he talks to him, trying to explain only for Todd to tell him that it’s over and that Race needs to be relocated to another family, asking for Jack to think about what’s best for the boy.

Unable to argue, Jack goes back to Race and holds him tight, carrying him back home as Katherine mutters that she thought they had a chance until Crutchie came along.

Crutchie follows them home. Race and Jack don’t even notice.

That night, Jack sits Race down in the hammock in their backyard and sings to him, giving him a flower that matches one that he holds in his own hand. The song he sings is one of a goodbye and Race doesn’t understand it as the wind carries their flowers away. But he leans into Jack and lets his brother hold him until he falls asleep.

That night, Race is frustrated when he wakes up in his own bed and hears the window open. Crutchie is standing there, ready to run and Race doesn’t seem at all surprised by this. He just tells Crutchie that he can leave if he wants. But if he stays, they’ll take care of him. He tells Crutchie that Jack’s really good at taking care of people.

But Crutchie does leave, regretting it only when he can’t find his way back to Race and Jack. What he doesn’t know is that Weisel and Henry have gotten fired by the federation and Weisel is excited to do things his way.

Still living on instinct, Crutchie flees unknowingly back towards the Kelly house.

In the morning, Jack is crying over his cereal when Race sulks into the room, upset that Crutchie left. Jack hugs him and tries to explain to him what’s about to happen, that they may never see each other again and that it was all gonna be okay. But Jack can’t get the words out.

He’s saved by a knock at the door which is revealed to be Katherine, telling him that she found him a job. So Jack runs into town, making Race promise not to open the door for anybody, hope filling his chest as he thinks maybe if he gets a job, they won’t take his brother away.

The moment Jack leaves, Crutchie comes crashing back, Weisel hot in his tail as Henry grabs the boy, trying to keep him out of harm's way. Unsure of what to do, Race calls Kloppman because he’s scared but Crutchie is protecting him.

Weisel ends up setting the house on fire.

When Jack hears the sirens after getting the job, he knows. He doesn’t wanna believe it, but he just knows. So he literally runs back home, Katherine right behind him.

He finds Kloppman carrying Race to the back of his car, shutting him in. And Jack loses it. He starts sobbing, begging Kloppman not to do this. He tries to explain that he’s the only one who understands Race and that Race needs him and won’t stand a chance without him. Kloppman asks him angrily if this is really what Tyler needs, pointing to a burned down house. He then tells Jack that it seems like Jack needs Tyler a lot more than Tyler needs him.

That’s what breaks Jack.

(Which, honestly… how horrible? This kid just lost both of his parents too and is now losing the only thing he has left and, I know they’re trying to do right by the underage child, but I mean… that’s so sad. No one took into account how Nani was feeling having to lose her entire family even though she was trying her best to keep what was left of her broken family. Anyway…)

He falls to his knees, letting Katherine wrap him up in her arms, trying to calm him as Jack begs Kloppman to just let him say goodbye even though Kloppman is insisting that he’s making this harder than it needs to be.

Unbeknownst to them, Race, a very smart little six year old, is listening to the whole thing, sobbing as he finally understands what’s actually happening. He unlocks the door that leads out into the woods beside their house and runs away.

He stumbles upon Crutchie who’s still running and Crutchie sees how broken he is. Reluctantly, he reveals himself to the boy, letting his true form show and scaring Race for only a moment before Race gets angry, realizing that if they hadn’t gotten Crutchie, he’d be able to stay with Jack.

While trying to run again, Crutchie and Race both manage to get captured by Snyder who was sent to hunt down 626. Snyder doesn’t seem at all bothered by the capture of an innocent little boy and states that he caught a snack for the road, though he locks him up with Crutchie who escapes easily and tries to pull Race with him before Snyder takes off, taking Race with him.

Realizing that Race isn’t in the car when he tries to drive off, Kloppman gets out and starts calling for him. So Jack runs into the woods to find him, knowing that Race loves to play hide and seek in those woods and knows it’s a place where he’s hard to find. So he rushes out alone, screaming for his brother to come back to him.

He sees Race get picked up by a monster and locked in the back of a spaceship. Terrified and confused, Jack screams out for Race, catching the attention of Crutchie who is immediately apprehended by Weisel and Henry. Henry sees Jack and apologizes, going to knock him out to try and get him to believe it was all just a dream, but Jack’s quicker than that. And he cries out about Race, demanding to know where he is. When they admit they know who Jack’s talking about he tells them to bring him back. Henry tells him that they can’t.

So Jack falls to his knees in pure agony, unable to handle another loss.

Crutchie kneels down beside him, saying o’hana. Weisel tries to pull him away but Jack stops him, asking Crutchie to say it again. So Crutchie does, promising Jack that no ones gonna get left behind and then telling Weisel that he’d go with him quietly if they went to rescue Race.

So they do.

Jack is not a good flyer, in case anyone’s wondering.

They catch up to Snyder, showing him that he in fact did not have Crutchie in his possession. When Jack sees Race who is struggling to breathe as they get high and high up, he starts panicking, trying to get to the top of the ship to encourage Race to jump down to him, but Crutchie doesn’t let him. Instead, he jumps from one ship to the next, putting Tyler on his back and getting Snyder to crash his ship while trying to fight him, only caught by Weisel at the last minute, avoiding death.

They crash land in the ocean and Jack is holding Race the whole time, even as they’re submerged in water. And then he swims them both back to shore.

Crutchie hugs Race and then goes to turn himself in, but Race then tells Weisel that it would be stealing if he did that because they bought Crutchie from an animal shelter which made him part of their family and he couldn’t do that.

Kloppman steps in to tell Weisel that this is true. Jack tightens his grip on Race, fearing that Todd might rip him away again. Kloppman explains that he used to work for the CIA, specializing in extraterrestrial activity. Then he offers Jack a second chance, explaining to him that he knew Race would be safe with Jack from now on.

Jack takes Race and Crutchie home, making their own little family with Katherine who he finally asks out on a date and things are just perfect for a while.

What do you guys think? Wanna see any scenes? Feel free to send me an ask!

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