#1991 script

[make-friends-with-the-rats]

I have updated my bio with some things that might be of interest to you if you've been looking for a certain novel, or a script, or perhaps just somewhere to watch the greatest film of all time...

just so y'all know

[nitttstdsdtoastd]

forced to say “hi” born to say “top a the mornin' to ya, pussycat, you miss me?

[mariocki]

Cape Fear (1991)

"Let's get something straight here. I spent fourteen years in an eight by nine cell, surrounded by people who were less than human. My mission in that time was to become more than human. You see? Granddaddy used to handle snakes in church, Granny drank strychnine. I guess you could say I had a leg up, genetically speaking."

[kajaono]

Reading the script book - that he wrote after season 1 - and can not believe this bit stuck with him so much, that he had to bring it back for season 2.

[homehauntsyou]

you’re a Newsies fan? *squeals excitedly in musical*

who’s your favorite character? how did you get introduced to the musical? What’s your favorite movie/recorded version of the show? Have you ever seen a production of it live?

OH MY GOD IM A HUGE NEWSIES FAN !!! i have a little section of my bedroom wall dedicated to it because it means SO much to me <3

(answers under the cut because i just started talking and idk if people want to read all of it)

i know in my heart and soul that i must say jack kelly because he is so dear to me. i have a t-shirt from a t-shirtsies project of him that i've had to retire because it was getting too worn from me wearing it so much (it used to be my go-to doctor's appointment t-shirt). i think that i'm most similar to davey though :) and my favorite ensemble member is finch !! (i LOVE iain young's version omg) or crutchie because he is amazing disability rep and someone i've really enjoyed thinking about recently

i've been a part of theater since i was around 7? and consistently performing since i was 14 so i just kind of naturally found it from being in the space and wanting to find new musicals. i remember first listening to the soundtrack while cleaning my room and then making my parents watch it with me the next night and i pretty much immediately loved it. everyone in the theater department knows me as the "newsies guy" and there are a couple that call me jack kelly as a joke 😭 if anyone mentions newsies ever they all go "where's theo" and immediately tell me what was said which i think is my greatest achievement <3

i wish i could say uksies but there are only bootlegs :( i'd probably have to go with the 2017 broadway pro-shot because it is truly so incredible (the original trio !!!) and the additional songs are ones that i could not do without. but believe me i enjoy 1992sies so so much and i listen to both soundtracks fairly regularly (i generally prefer '12 "santa fe" but there is something so devastating about '92 "santa fe" that i adore. and honestly when it comes down to it they're almost completely different songs so i find it hard to compare them)

I HAVE !! in dec 2022 i got to see it in the uk when it went to wembley and i have the newspaper that was thrown at me during seize the day on my wall with the tickets and playbill :3 i actually ran into michael ahomka-lindsay as he was walking out of a coffee shop so i got to meet him outside of stage door (he's so sweet oh my god) which i think about all the time. whenever i'm particularly sad i like to go back and watch the videos from meeting the cast at stage door - they were all so wonderful and very genuine :')

[transgirl-from196]

The writer didn’t have to go this hard but I’m so glad they did this is amazing. Like that writer well and truly does not give a fuck lol

Also when actors talk about how they read a script of a film and just “knew they had to be in it” I like to think this is the kind of shit they’re talking about lol

The Addams Family (1991) dir. Barry Sonnenfeld

[keycomicbooks]

#XMen #5 (1991) #JimLee and #ScottWilliams Cover, Jim Lee & #JohnByrne Script, Jim Lee Art, 1st Appearance of #Maverick (#AgentZero), 2nd Appearance & 1st Full Cover Appearance of #OmegaRed "Blowback" The Hand's plans for Omega Red have blown up in their face! Their would-be weapon has ditched his mission for an all-out grudge match with Wolverine and his team of X-Men. https://www.rarecomicbooks.fashionablewebs.com/X-Men%20Vol%202.html#5 @rarecomicbooks Website Link In Bio Page If Applicable. SAVE ON SHIPPING COST - NOW AVAILABLE FOR LOCAL PICK UP IN DELTONA, FLORIDA #RareComicBooks #KeyComicBooks #MarvelComics #MCU #MarvelUniverse #KeyIssue

[orchidscurse]

fully sober in the club googling my own private idaho 1991 script

[neil-gaiman]

Hi, Neil!

I was wondering, why doesn't Crowley have a "normal human job" like Aziraphale. Like Aziraphale is a bookseller. Why isn't Crowley like a chef or something like that.

I remember in 1991 one of the notes Terry and I got from the studio on our original script was that Crowley needed a job as well and that Aziraphale needed a more glamorous job than Bookseller. It was the first time I'd ever written a script so I tried giving Crowley a job in the next draft, but he wasn't really very good at it, and it wasn't very convincing.

He sort of has a job in 1941.

[make-friends-with-the-rats]

Sarah Jacobs' Lines

Did you know that out of the Hard Promises script, the 1991 filming script, the junior novelization, and the film, Sarah Jacobs actually has the least lines in Hard Promises?

Her spoken lines expanded in the 1991 script and were then reduced in the final cut of the movie. Newsies: a novel boasts the most words spoken by Sarah.

I've collected all of Sarah's lines from all four versions of Newsies mentioned above, here are all of them! (Lyrics are indicated by boxes.)

Hard Promises

Total spoken words: 127 Words NOT spoken to Jack: 8 Solo: What Will Become of The Boy? Quotes: "My father and I are Socialists." "I love the quiet, this time of morning. The city can be so oppressive sometimes... so ugly." ---

1991 Script

Total spoken words: 269 Words NOT spoken to Jack: 74 Solo sung words: 12 Duet sung words: 51 Quotes: "You're not going to run away. They'll just come after you. You have to fight them." "You're wrong. You touched people you don't even know about." ---

Newsies: a Novel

Total spoken words: 369 Words NOT spoken to Jack: 105 Quotes: “You don’t have to get arrested to be a loyal friend.” “You can’t go. It will leave everything unsettled. For the rest of your life you’ll be calling yourself a quitter and a coward. And you’re not, Jack. What you do means so much to people…”

The novel also provides the following passages that offer something of Sarah's inner monologue/POV:

---

Newsies (1992)

Total spoken words: 161 Words NOT spoken to Jack: 85 Solo sung words: 5 Quotes: "It's the same sun as here." "Think about seizing the day!"

[screamofdespair]

越智浩仁 Hirohito Ochi is also one of those veteran artists who have been involved in the production of Detective Conan since the very beginning, with a style of his own. He has worked on a vast number of episodes, particularly those featuring the Detective Boys, and initially collaborated mainly with the Animation Director 大河原晴男 Haruo Ogawara in the early stages of the series production. Like his peer Masato Sato, he was also appointed as the series director (505 to 666) during an extremely difficult period, primarily working on openings and endings. One of the differences from the others is that he also wrote his own original scripts for the series, the most well-known being : Dracula's Villa Murder Case and A Cursed Mask Coldly Laughs.

Let's take a look at his work during Detective Conan's prime.

One of Ochi's distinctive traits is his use of experimental colored backgrounds in transition scenes, blending them with the tone and style he wants to convey. He incorporates onomatopoeia, manga speech bubbles, pastel pencil backgrounds, cartoonish scenes, and even typography. This use of almost childlike backgrounds not only adds style but also emphasizes the fact that Shinichi has the body of a child.

A diverse framing palette, offering a bit of everything…

With a preference for low-angle shots, often playing with Conan's size in the process.

Unlike Sato or Yamamoto, who make the scenes where Conan finds clues or is in a moment of reflection more dynamic, Ochi prefers static backgrounds with a blue gradient, even later in the anime.

He is also obsessed with the mid/late afternoons depiction, which can range from a simple orange to red.

What's interesting about the Ochi episodes is that they make full use of Gosho Aoyama's early artstyle. The scenes are very dynamic and exaggerated, using Masatomo Sudo's flexible designs to the fullest, with Ogawara further enhancing this sensation (where the adaptations of Magic Kaito have failed doing this, for example).

The scene in the top right, was animated by the very famous Character Designer 岸田 隆宏 Takahiro Kishida.

Ochi wrote, storyboarded, and directed episodes 88 and 89 Dracula's Villa Murder Case, which are of great quality. There are inspirations from Dezaki's direction (notably Oniisama E), which is not surprising because he is a reference for everyone, as well as from the Japanese movie Evil Dracula (the atmosphere, the hallways, the manor, the sofa in the center, etc...).

Oniisama E (1991) Dir : Osamu Dezaki

and Evil Dracula (1974) Dir : Michio Yamamoto

His creativity when it comes to adapting chapters has always been evident, using everything at his disposal, both in the framing and the photography : #176 opening scene.

Not to mention perhaps his most well-known episode, which he wrote, storyboarded, and directed : #184 A Cursed Mask Coldly Laughs. It takes everything from episodes 88 and 89 and elevates it : the atmosphere, the theme of the curse tied to the mask, the suspense, and an extremely unconventional way of solving the mystery, visually simple yet complex in practice, in a very Aoyama-esque manner. One could almost believe the episode was written by Aoyama himself, though that is not the case.

[make-friends-with-the-rats]

okay, allow me to plug in some history first

The real strike leaders of the 1899 Newsboys' strike, Kid Blink and Dave Simmons, were accused of accepting a bribe and betraying the strike on July 26th. However, both boys denied the charges. Dave Simmons went so far as to say that "a published report that he and Kid Blink had been deposed as leaders of the strike for going over to the enemy was a device of that enemy, and that the report was not true."

Source: “Parade To-Night, Sure.” The Sun [New York], 27 July 1899, p. 3.

Given that every paper which reported on the bribe seems to be in conflict with each other on the details, and given that the accusations came at the height of the strike and its support by the public, it is likely that Dave Simmons was telling the truth.

Three days before the accusations was the rally at Irving Hall. Two days before, the newsies had switched to peaceful means of protest. The day before he supposedly accepted a bribe, Kid Blink is quoted as saying "[William Randolph Hearst] says he’ll go out of business and close up the shop before he’ll give in to us. I guess that’s what he’ll have to do." Does that sound like a boy who'd turn around and betray the strike the very next day?

Source: “Newsies’ Standing Fast.” New-York Daily Tribune, 26 July 1899, p. 2.

Going back to the issue of conflicting details, the Tribune reported that each boy was given a $400 bribe. The Sun claimed the offer was a dollar a day along with free papers. The Herald says that Kid Blink and Dave Simmons were given $200 and a new suit of clothes.

As a quick aside, a $400 or $200 bribe seems rather like improving the truth to me, seeing as in today's money that would be equivalent of about $15,000 or $8,000.

Regardless of whether any of the reported claims are true, the original bribe that Pulitzer offers Jack in Newsies (based off of the earliest available script) seems to have taken the Herald at its word:

Newsies "Hard Promises" script.

In this same script, Jack is given a new suit as promised but only $50 (about $2,000). Weasel claims that Jack will get the rest of the bribe money when the strike has ended.

Newsies "Hard Promises" script.

Unlike in the final film, there is no forgotten printing press in Pulitzer's basement. Instead, Jack uses the bribe money to fund the printing of flyers at a print shop. Later, as he's leaving Pulitzer's office, Jack returns the bribe money before taking some of it off the top for "expenses."

Newsies "Hard Promises" script.

But of course, the script changed and evolved between Hard Promises and the final film. The 1991 filming script is quite different. For one, the amount of money that Pulitzer offers to Jack is never specified.

Newsies 1991 filming script, p. 99 & 100.

What's interesting is that, while Jack definitely gets a new suit out of the deal, it is never specified whether Jack actually receives any bribe money. Jack's line in the final film, "For the first time in my life I've got money in my pockets - real money!" is no where to be found whereas he did have a similar line "I got fifty dollars in my pocket and more on the way" in the earlier Hard Promises script.

After returning to the strike, Jack also says he's planning to hop a train for free. If he had received money from Pulitzer, wouldn't he be buying a ticket?

Newsies 1991 filming script, p. 113.

Also missing from the 1991 script is any mention of Jack returning any alleged bribe money. However, in this version of the story, as in the final film, there is a printing press in Pulitzer's basement that is used to print the Newsies Banner. Jack reveals this fact to Pulitzer in Pulitzer's office right before Pulitzer concedes to listen to the newsies' demands and the scene changes. This is only slightly different from the final film where the scene cuts away on Pulitzer's shocked face.

Newsies 1991 filming script, p. 130.

The novelization isn't too dissimilar from the 1991 script on the aforementioned points. The amount of money Pulitzer offers Jack isn't specified, Jack shows up in a new suit but never confirms that he received money, plans to go off on a train for free, and doesn't return any money to Pulitzer in his office. Pulitzer's own press is once again used to print the "Newsie News" (aka the Newsies Banner) and Jack is the one to tell Pulitzer - there's just a slight difference as in the novel Jack tells him shortly after arriving in Pulitzer's office and delivering a copy of their paper.

Newsies: a novel, p. 130 (PDF p. 144).

In the 1992 film, Jack does receive an unspecified amount of bribe money but as far as the film provides he neither spends it nor does he return it to Pulitzer. And he doesn't need to return it. Here's why:

The reason why Jack returned the bribe money in Hard Promises is because in that version of the story the bribe money is used to undermine Pulitzer. Pulitzer tries to pay Jack for his silence and submission, but Jack turns around and uses that money to fund the flyers that turn the strike. Because stories and scripts evolve, this act of rebellion turned into Jack using Pulitzer's own press to print the Newsies Banner. Both are a climatic moment that shows Pulitzer he has unwittingly aided the newsies in their victory.

True, we don't get the full conversation in Pulitzer's office, so maybe before he left Jack returned the bribe money as he did in the early script. But it's no longer necessary that he does, which is why we don't see it in the film - it's up to interpretation. Maybe Jack gave the money to the Jacobs family to help them get back on their feet, who's to say?

What's more important is that Jack got his moment to defy Pulitzer.

"Well, we only use the best, Joe. So I just wanna say... thanks again."

wait does jack (92sies) actually give pulitzer’s money back or does he keep it

[lets-steal-an-archive]

David Lynch: PDF Scripts

The Elephant Man (1980) - undated & unspecified draft

Dune (1984) - second draft, fifth draft (revised)

Blue Velvet (1986) - revised third draft

Wild at Heart (1990) - revised first draft

Twin Peaks - Episode #006

Twin Peaks - Episode #007

Twin Peaks - Episode 2.001

Twin Peaks: Fire Walk with Me (1992) - August 8, 1991 draft

Twin Peaks: The Return - Combined Dialogue and Continuity, Parts 1-18 (Emmys 2018 FYC)

Lost Highway (1997) - June 21, 1995 draft

Mulholland Dr. (1999) - January 5, 1999 draft

One Saliva Bubble - First draft dated May 20, 1987 (Unproduced)

Ronnie Rocket - undated & unspecified draft (Unproduced)

[one-highfalutin-sonuva-gun]

Deleted Scene: Medda's Yellow Dress

The Swedish Meadowlark not only looks great in pink and purple, she can also pull off an all yellow outfit that was unfortunately cut from the movie.

Do you boo-hoo-hoo for this dress not being in the movie?

This deleted scene takes place between Crutchy accidentally revealing Jack's identity to Synder and Jack returning to the lodging house where Synder awaits. It shows where Jack is in between those times. He is out with David, both back at Irving Hall, trying to organise to have the rally there but is met with reservations from Medda. (What is Medda holding? It looks like a black bar of soap. Apparently it's make up according to the the script).

This is the only time Jack is in this combination of dress without his vest on, his suspenders up and has on his red handkerchief.

The only other time he has a similar dress style, he isn't wearing the handkerchief and his shirt is partly unbuttoned.

From the 1991 revised script:

Later it's revealed that Jack spent all his money renting out the theatre.

Bonus deleted scene: During High Times, Hard Times, Medda gets up close and personal with her ducky-wuckies, Snoddy and Snitch:

[identitty-dickruption]

We might note that bodily impairment characteristics appear to carry a much greater social significance for disabled children and young people than they do in later life. In this sense, social concerns with bodily imperfection seem to play more heavily on disabled children and the unborn than on older people. Although social theorists have suggested an increasing tolerance towards bodily diversity in postmodern consumer societies (Featherstone, 1991), there is little evidence of such developments in relation to tolerance about the birth of disabled children. The pressures on parents and doctors to produce ‘normal’ children certainly appear to have less in common with celebrations of diversity than with pursuing uniformity and the normalisation of the body. Thinking about youth and adulthood also highlights the generational significance of the body in disability debates. Idealised constructions of youthfulness play heavily on the pursuit of bodily perfection in consumer societies, while constructions of independent adulthood emphasise autonomy in physical and cognitive function. These bodily ideals contribute to disability in two ways. First, they provide cultural scripts for decoding the body’s potency as an object of beauty or sexual desire – leading to the aesthetic oppression of those whose bodily characteristics are not read in this way (Hughes, 2000). Second, there is the underlying assumption that young adult bodies should be fit for production and reproduction in the interests of capital, patriarchy and the state.

"Generating Debates: Why we need a life course approach to disability studies", Mark Priestly

[secondbeatsongs]

hi, big speed racer fan, in your speed racer post you mentioned that you have proof that the movie is set in 1991 ? please say more about that.

oh I can absolutely do that! best movie of all time! let me explain my logic

so Speed, Pops, and Royalton all talk a lot about the '43 Grand Prix. watching the recording of that race inspired Pops and Speed to get back into racing after Rex's death, but this was also the race that inspired Royalton to get into racing in an evil, stock-market-manipulation kind of way.

everyone in the film calls it "the '43 Prix", including in the script (because I checked, because I wanted to be sure about this, DM me if you want more script stuff btw it's so good):

the important part here is that everyone calls it "the '43 Prix" and not "the 43rd Prix" - we know for sure that this race took place in 1943.

but fun fact! it was, also, the 43rd Prix! we know this because of the poster on Speed's wonderful, beautiful orange wall.

Rex's poster of Ben Burns (which Speed kept), says "Grand Prix Winner XLIII", and you might think that would mean the year and not the race number, but

when Horuko gives Speed the invitation to the Grand Prix, he calls it the 91st annual Grand Prix and the invitation says XCI, meaning that the WRL uses roman numerals to indicate the race number and not the year.

not that it matters, because it seems like in this universe, the race numbers and the year numbers match up! the 43rd race was in 1943, and so this, the 91st race, must be in or very near 1991!

that's my main argument here. but also, we need to look at Ben Burns

and I mean like, literally, we need to look at him.

he's not very young here, right? this was a flashback shot of his Grand Prix win against Stickelton, and he doesn't look like a teenager or anything; he's definitely a grown man.

but now look at present-day Ben Burns:

he's still pretty young! Richard Roundtree was 66 when he played Burns, and the character can't have been too much older than that.

so if we're very generous and say that Burns was 20-22 when he won against Stickelton in 1943, and that he's 68-70 in the present day, our year of 1991 makes sense here too!

so that's why the absolute masterpiece Speed Racer (2008) takes place in 1991, thank you for coming to my ted talk

final notes:

this argument falls apart if you, instead, decide that the film takes place in a post-apocalyptic future, and the '43 Prix was actually in 2043 or even 3043. they never actually say it was 1943, so there's still some room for fun alternate interpretations here.

there is an out-of-universe explanation for the race number btw! the 91st Indy 500 took place in 2007 while the movie was being made, so the Wachowskis probably picked the number 91 because of that.

also this is a complete tangent, but while looking up Richard Roundtree's age (may he rest in peace), I looked at some photos from when he was young and? I think I accidentally found the one they used to make that winning flashback photo?

this one's on his IMDB as "Richard Rountree [sic] at home, c. 1972" and if you mirror it, and rotate it a bit...

yeah. I mean, they definitely changed some things, but his eyes are the same, and the general emotion of his face.

wild thing to discover by accident, but hey, I guess this is a thing I know now!