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Narrator: NEWSPAPER-PUBLISHING
TITANS JOSEPH PULITZER...
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THIS IS A GREAT DAY
FOR JOURNALISM!
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...AND
WILLIAM RANDOLPH HEARST...
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SPREAD THE STORY OVER
THE ENTIRE FRONT PAGE.
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...GO TO BATTLE IN THE GREATEST
CIRCULATION WAR IN HISTORY...
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HERE WERE THESE TWO MEN,
BOTH CRAZY, DRIVEN, EGOTISTICAL.
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"DID YOU SEE THAT
IN THE WORLD?!"
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IT WAS NO-HOLDS-BARRED.
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ETHICS WERE OUT THE WINDOW
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BECAUSE THE GOAL WAS
TO SELL NEWSPAPERS.
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AAH!
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Narrator:
...EXPLOITING MURDER...
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FIND THE HEAD.
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...POLITICAL UNREST...
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Shahid: SENSATIONALISM SOLD,
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AND EVERYONE KNEW IT.
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Narrator:
...THEY WIELD THE POWER
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TO NOT JUST TELL HISTORY,
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BUT TO SHAPE IT.
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HE WANTS A COMPETITION,
HE'S GOT ONE.
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THEY BOTH REMADE
THE MEDIA LANDSCAPE.
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NOW THAT'S HOW YOU
WRITE A STORY.
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THEY TRANSFORMED
THAT INDUSTRY,
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AND THEY TRANSFORMED
AMERICAN LIFE.
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WHAT HAPPENED
TO "JUST THE FACTS?!"
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Narrator:
THESE ARE THE EPIC STORIES
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OF MEN STRUGGLING FOR SUPREMACY,
BUILDING EMPIRES,
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AND CHANGING THE COURSE
OF AMERICAN HISTORY FOREVER.
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-- Captions by VITAC --
www.vitac.com
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CAPTIONS PAID FOR BY
DISCOVERY COMMUNICATIONS
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¶¶
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POST-CIVIL-WAR AMERICA
IS THE GOLDEN AGE OF JOURNALISM.
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THERE ARE MORE NEWSPAPERS BEING
PUBLISHED THAN EVER BEFORE.
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[ CAMERA SHUTTER CLICKING ]
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AND YOU DIDN'T GET ANY BIGGER
THAN THE NEW YORK WORLD.
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YOU JUST DIDN'T.
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Narrator:
THE NEW YORK WORLD'S PUBLISHER
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IS A HUNGARIAN IMMIGRANT
NAMED JOSEPH PULITZER.
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PULITZER WAS THE PERSON
THAT EVERYONE WANTED TO BE.
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HIS TYPE OF JOURNALISM --
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THAT WAS THE JOURNALISM
EVERYONE WANTED TO IMITATE.
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THIS IS GREAT DAY
FOR JOURNALISM!
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GIVE ME PAIN,
GIVE ME SUFFERING,
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GIVE ME CORRUPTION, SCANDAL,
BLOOD, SWEAT, AND TEARS!
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Narrator: PULITZER'S SUCCESS
IS BUILT ON ONE THING --
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A FORMULA THAT APPEALS
TO THE MASSES,
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GIVING HIS READERS
WHAT THEY WANT.
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I'M NOT TALKING ABOUT
POLITICS.
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REMEMBER --
95% OF OUR READERS
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DON'T CARE ABOUT
POLITICS AT ALL.
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Morris: PULITZER WAS USING
THE DRAMA OF THE URBAN LANDSCAPE
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MUCH IN THE SAME WAY DICKENS
HAD DONE WITH HIS FICTION.
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MURDERS BECAME STORIES.
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CORRUPTION BECAME STORIES
IN SUCH A WAY
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THAT YOU DIDN'T WANT TO BE
WITHOUT THE PAPER.
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EVERY SINGLE DAY,
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I WANT THE PEOPLE OF NEW YORK
TO ASK EACH OTHER,
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"DID YOU SEE THAT
IN THE WORLD?!"
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Narrator: PULITZER BUILDS
THE NEW YORK WORLD
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INTO THE LEADING NEWSPAPER
IN THE COUNTRY,
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MAKING THE ONCE
DIRT-POOR HUNGARIAN IMMIGRANT
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ONE OF THE RICHEST MEN
IN AMERICA.
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REMEMBER, GENTLEMEN,
THE FACTS --
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NEVER FORGET THE FACTS.
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Shahid: PULITZER WAS
THE KING OF THE HILL.
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HE REALLY DIDN'T HAVE
VERY MUCH COMPETITION,
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BECAUSE HIS NEWSPAPER
WAS THE ONE TO BEAT.
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Narrator:
NOBODY WANTS TO BEAT PULITZER
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MORE THAN A WEALTHY
YOUNG UPSTART
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BY THE NAME
OF WILLIAM RANDOLPH HEARST.
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SUDDENLY, WILLIAM RANDOLPH
HEARST SHOWS UP,
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BUYS A NEWSPAPER FROM WHO?
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PULITZER'S OWN BROTHER.
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AND NOW IS IN A POSITION
TO REALLY CONTEST PULITZER
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FOR THE HEART AND SOUL
OF JOURNALISM IN NEW YORK CITY.
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Campbell:
HE'S IN HIS EARLY 30s
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WHEN HE TAKES OVER
THE NEW YORK JOURNAL,
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AND HE COMES IN, AND IT'S LIKE
A SEISMIC EVENT, ALMOST,
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IN NEW YORK CITY JOURNALISM.
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SO, HE'S UPSETTING
THE OLD ORDER.
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UH, MR. HEARST, WHAT WILL
WE SEE IN THE PAPER TOMORROW?
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READ ABOUT IT
IN THE JOURNAL.
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IT'LL BE OUT IN
ONLY A FEW HOURS.
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AND I, FOR ONE, WON'T SLEEP
UNTIL IT ARRIVES.
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[ LAUGHTER ]
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Shahid: WILLIAM RANDOLPH HEARST,
HE WAS LOUDER, HE WAS BOLDER,
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AND THAT'S WHEN THE WAR STARTS.
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THE FIRST THING THAT HEARST DOES
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IS HE LOWERS THE PRICE
OF HIS NEWSPAPER, THE JOURNAL,
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TO ONE PENNY FROM TWO.
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THIS'LL CERTAINLY GET
THE PEOPLE'S ATTENTION.
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EVERYBODY COME
AND GET THE JOURNAL!
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IT'S ONLY ONE PENNY!
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IT WAS A SHREWD MOVE.
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I THINK IT HELPED EXPAND
THE MARKET.
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Narrator: HEARST HAS OTHER IDEAS
ABOUT HOW TO BEAT PULITZER.
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I DON'T JUST WANT
A PAPER THAT SELLS.
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I WANT THE BEST REPORTING
IN NEW YORK CITY,
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WHICH MEANS I NEED
THE BEST REPORTERS.
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AND I KNOW WHERE
TO GET THEM.
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HEARST PLANS TO PILFER
PULITZER'S BEST JOURNALISTS.
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AFTER 13 YEARS
AS THE TOP PUBLISHER,
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PULITZER IS FACING
A CRUEL FATE --
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HE'S GOING BLIND.
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Morris:
PULITZER HAS DETACHED RETINAS.
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LIKE BEETHOVEN COULD NO LONGER
HEAR HIS MUSIC,
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PULITZER COULD NO LONGER
READ HIS OWN NEWSPAPER.
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Feldstein:
HE COULD BARELY SEE.
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HE HAD TO WEAR GOGGLES TO SHIELD
THE SUN FROM HIS EYES.
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WHEN HEARST FIRST COMES TO TOWN,
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HE WAS INTERVIEWING
AND HIRING AWAY,
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WITH A BOTTOMLESS CHECKBOOK,
THE BEST REPORTERS
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AND THE BEST EDITORS
THAT WORKED FOR JOSEPH PULITZER.
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AND PULITZER GOES BERSERK.
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SIR, YOUR SUNDAY STAFF
HAS BEEN HIRED BY HEARST
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AT THE JOURNAL.
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THAT DAMNED HEARST!
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I WILL NOT HAVE MY PAPER
RAVAGED.
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AND IT'S A DOUBLE-WHAMMY EFFECT,
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BECAUSE IT NOT ONLY GETS HIM
THE BEST IN THE BUSINESS
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THAT EXISTED AT THE TIME,
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IT ALSO DEVASTATES
HIS COMPETITION, PULITZER.
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Narrator:
PULITZER FIGHTS BACK.
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LOWER THE PRICE OF THE WORLD
FROM 2¢ TO 1¢.
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HE WANTS A COMPETITION,
HE'S GOT ONE!
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SEND THE WIRE.
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YES, SIR.
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THERE IS A REAL WAR ON --
A CIRCULATION WAR,
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A WAR OF EGOS, AND REALLY,
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A WAR FOR THE FUTURE
OF JOURNALISM IN NEW YORK CITY.
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Narrator:
HEARST UPS THE STAKES.
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HE INSTALLS NEW,
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STATE-OF-THE-ART
PRINTING PRESSES
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AND IS ABOUT TO REVOLUTIONIZE
THE NEWSPAPER BUSINESS.
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EDWARDS, I'VE BEEN COLLECTING
COMICS SINCE I WAS A BOY,
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AND I'M TELLING YOU --
"HOGAN'S ALLEY"
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AND "THE YELLOW KID" --
THAT'S A GOLD MINE.
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Shahid: "HOGAN'S ALLEY"
WAS A COMIC STRIP
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IN JOSEPH PULITZER'S WORLD.
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AND THE MOST POPULAR KID
IN THE WHOLE COMIC STRIP
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WAS THIS SNAGGLE-TOOTHED,
BALD-HEADED STREET URCHIN
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CALLED THE YELLOW KID.
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DO WE HAVE THE FINEST
COLOR PRESSES AROUND?
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Man:
WE DO, INDEED, SIR.
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YEAH.
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BUT WHAT WE DON'T HAVE...
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IS THIS.
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Narrator: "THE YELLOW KID"
IS THE CREATION
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OF A BRILLIANT ILLUSTRATOR --
RICHARD OUTCAULT.
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RICHARD OUTCAULT IS A NAME
NOBODY REMEMBERS TODAY,
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BUT HE WAS THE MOST FAMOUS
CARTOONIST IN THE COUNTRY.
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YOU SET UP A MEETING
WITH MR. OUTCAULT
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AT THE NICEST RESTAURANT
IN TOWN.
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YES, SIR, MR. HEARST.
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Narrator: FOR HEARST,
STEALING "THE YELLOW KID"
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ISN'T JUST ABOUT
BEATING PULITZER.
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IT'S A SIMPLE
BUT REVOLUTIONARY IDEA
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TO ATTRACT NEW,
NON-ENGLISH-SPEAKING READERS
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FROM THE SURGE OF IMMIGRANTS
POURING INTO NEW YORK.
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Feldstein: THE IMMIGRANTS
WOULD LEARN ENGLISH
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THROUGH THE FUNNIES,
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SO THIS WAS A VITAL PART
OF GETTING PEOPLE
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TO BUY THE NEWSPAPER
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AND TO READ THE OTHER NEWS
THAT WAS THERE, AS WELL.
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Narrator: THE KEY TO HEARST'S
PLAN IS TO STEAL
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PULITZER'S BIGGEST PRIZE --
THE CARTOONIST RICHARD OUTCAULT.
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THE JOURNAL'S ABOUT TO
OUTSHINE THE WORLD,
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AND YOU'RE GONNA WANT TO BE
A PART OF THIS --
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MORE COMICS, MORE COLOR
THAN ANY PAPER IN THE COUNTRY,
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AND YOU WILL BE
THE STAR ATTRACTION.
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IT'S ANOTHER ELEMENT
OF HEARST'S ATTEMPT
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TO MAKE HIS NEW YORK JOURNAL
STAND OUT
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IN THIS VERY COMPETITIVE,
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HIGHLY COMPETITIVE NEW YORK CITY
JOURNALISM MARKET.
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SO, WHAT'S IT GONNA TAKE
FOR YOU TO BRING
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YOUR "YELLOW KID"
OVER TO ME?
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Narrator: HEARST PERSUADES
OUTCAULT TO COME TO THE JOURNAL.
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WELL,
I GUESS IF YOU CAN'T BEAT 'EM,
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YOU JUST STEAL
WHAT YOU CAN'T BEAT.
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IT'S A SUCCESS.
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OUTCAULT IS AN INSTANT SUCCESS
AT THE NEW YORK JOURNAL.
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Narrator:
BUT PULITZER FIGHTS BACK.
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Shahid: THE INTERESTING THING
ABOUT THAT IS THAT HE DIDN'T OWN
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THE COPYRIGHT TO
"THE YELLOW KID."
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JOSEPH PULITZER DID.
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SO, JOSEPH PULITZER HIRED
A COMIC-STRIP WRITER
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TO DRAW A "YELLOW KID,"
188
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AND SO, YOU HAD TWO
"YELLOW KIDS"
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IN BOTH OF THE NEWSPAPERS.
190
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AND THIS IS WHAT GIVES BIRTH TO
THE TERM "YELLOW JOURNALISM" --
191
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THE FIGHT OVER "THE YELLOW KID"
192
00:09:07,357 --> 00:09:10,024
REPRESENTED
THE SPLASHY GRAPHICS
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00:09:10,126 --> 00:09:13,528
AND THE SPLASHY APPROACH
TO NEWS THAT BOTH MEN,
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BOTH PUBLISHERS SYMBOLIZED.
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Narrator:
NOW THAT HEARST HAS STOLEN
196
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PULITZER'S TOP REPORTERS
AND ILLUSTRATORS,
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HE WANTS TO USE EVENTS ABROAD
TO OPEN A NEW FRONT
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IN THE ESCALATING PUBLISHING
BATTLE, THIS TIME,
199
00:09:29,079 --> 00:09:33,147
IN A COUNTRY JUST OFF
AMERICAN SHORES -- CUBA.
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Morris: PULITZER FAILS TO
PERCEIVE THAT THE CUBAN ATTEMPT
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TO BECOME INDEPENDENT FROM SPAIN
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IS A STORY THAT WOULD RESONATE
WITH AMERICANS.
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AND FOR HEARST,
IT WAS THE STORY HE BELIEVED
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HE COULD RIDE TO POWER UPON.
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LET'S SEE WHAT THE GREAT
RICHARD HARDING DAVIS
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HAS UNCOVERED IN CUBA.
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Campbell: SO, HE RECRUITS
RICHARD HARDING DAVIS,
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00:09:54,971 --> 00:09:58,172
A WELL-KNOWN RISING STAR
IN AMERICAN JOURNALISM.
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Shahid: RICHARD HARDING DAVIS,
TO THIS DAY,
210
00:10:01,011 --> 00:10:04,812
IS CONSIDERED ONE OF THE BEST
WAR CORRESPONDENTS OF ALL TIME.
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Narrator: IN 1897,
DAVIS WITNESSES, FIRSTHAND,
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00:10:10,020 --> 00:10:13,721
THE FATE OF A CUBAN INSURGENT
TAKEN PRISONER BY THE SPANISH.
213
00:10:13,823 --> 00:10:18,559
Campbell: AND THE INSURGENT
WAS A 19-YEAR-OLD CUBAN
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WHO WAS BROUGHT TO
A FIRING SQUAD ONE MORNING
215
00:10:21,498 --> 00:10:25,266
IN LATE JANUARY 1897.
216
00:10:25,368 --> 00:10:27,802
Narrator: DAVIS'S WRITING
PERFECTLY CAPTURES
217
00:10:27,904 --> 00:10:30,171
THE BRUTAL MOMENT.
218
00:10:30,273 --> 00:10:32,140
"RODRIGUEZ HAD
A HANDSOME, GENTLE FACE
219
00:10:32,242 --> 00:10:33,408
"OF THE PEASANT TYPE...
220
00:10:34,944 --> 00:10:39,147
"...GREAT WISTFUL EYES
AND A MASS OF CURLY BLACK HAIR.
221
00:10:39,249 --> 00:10:43,284
"HE WAS SHOCKINGLY YOUNG
FOR SUCH A SACRIFICE...
222
00:10:43,386 --> 00:10:44,986
"...AND LOOKED MORE LIKE
A NEAPOLITAN THAN A CUBAN.
223
00:10:45,088 --> 00:10:48,322
"...AND LOOKED MORE LIKE
A NEAPOLITAN THAN A CUBAN.
224
00:10:48,425 --> 00:10:52,126
"YOU COULD IMAGINE HIM
SITTING ON THE QUAY
225
00:10:52,228 --> 00:10:53,628
"AT NAPLES OR GENOA...
226
00:10:53,730 --> 00:10:56,998
"...SHOWING HIS WHITE TEETH
AS HE LAUGHED.
227
00:10:57,100 --> 00:10:58,866
[ MAN SHOUTS IN SPANISH ]
[ GUNS COCKING ]
228
00:10:58,968 --> 00:11:02,103
"HE WILL BE REMEMBERED
ONLY AS ONE OF 30 CUBANS
229
00:11:02,205 --> 00:11:03,471
"SHOT AT SANTA CLARA...
230
00:11:03,573 --> 00:11:05,907
...ON EACH SUCCEEDING DAY
AT SUNRISE."
231
00:11:06,009 --> 00:11:07,475
[ MAN SHOUTS IN SPANISH ]
[ GUNSHOTS ]
232
00:11:12,282 --> 00:11:17,552
RICHARD HARDING DAVIS'S DISPATCH
ABOUT THE EXECUTION
233
00:11:17,654 --> 00:11:22,056
WAS ONE OF THE BEST EXAMPLES
OF WELL-WRITTEN JOURNALISM
234
00:11:22,158 --> 00:11:23,791
THAT HEARST'S NEWSPAPER
EVER PUBLISHED.
235
00:11:23,893 --> 00:11:29,430
NOW THAT'S HOW YOU WRITE A STORY
AND SELL PAPERS.
236
00:11:29,532 --> 00:11:32,266
Narrator: NOT TO BE OUTDONE,
237
00:11:32,368 --> 00:11:34,602
PULITZER BRINGS HIS OWN STAR
REPORTER,
238
00:11:34,704 --> 00:11:37,205
SYLVESTER SCOVEL, INTO PLAY.
239
00:11:37,307 --> 00:11:40,708
IF PEOPLE WANT STORIES OF CUBA,
THEY SHALL HAVE THEM.
240
00:11:40,777 --> 00:11:44,212
IF THERE'S DRAMA,
SCOVEL'S THE ONE TO DIG IT UP.
241
00:11:44,314 --> 00:11:45,847
SEND HIM A WIRE.
242
00:11:45,949 --> 00:11:47,348
Narrator:
SCOVEL'S MISFORTUNE...
243
00:11:47,450 --> 00:11:51,919
I'M A JOURNALIST!
I'M AN AMERICAN!
244
00:11:52,021 --> 00:11:54,122
Narrator: ...WILL BECOME
A BONANZA FOR PULITZER.
245
00:11:54,224 --> 00:11:56,624
AND A GRUESOME DISCOVERY
IN NEW YORK CITY...
246
00:11:56,726 --> 00:11:58,092
AAH!
247
00:11:58,194 --> 00:11:59,494
...ESCALATES THE PUBLISHING WAR.
248
00:11:59,596 --> 00:12:01,262
Man: GENTLEMEN,
I HAVE SOMETHING HERE
249
00:12:01,364 --> 00:12:02,630
THAT YOU MIGHT FIND
INTERESTING.
250
00:12:03,967 --> 00:12:07,034
Narrator:
...TO A NEW, UNFORESEEN LEVEL.
251
00:12:12,909 --> 00:12:15,243
¶¶
252
00:12:16,913 --> 00:12:20,948
Narrator: IN THE 1890s,
NEW YORK CITY'S PARK ROW,
253
00:12:21,050 --> 00:12:23,417
HOME TO THE GIANTS
OF NEWSPAPER PUBLISHING,
254
00:12:23,520 --> 00:12:27,255
IS THE EPICENTER OF A BATTLE
BETWEEN TWO TITANS --
255
00:12:27,357 --> 00:12:29,757
JOSEPH PULITZER
OF THE NEW YORK WORLD
256
00:12:29,859 --> 00:12:33,628
AND WILLIAM RANDOLPH HEARST
OF THE NEW YORK JOURNAL.
257
00:12:33,730 --> 00:12:36,097
READ ABOUT IT ONLY
IN THE NEW YORK JOURNAL, GUYS.
258
00:12:36,199 --> 00:12:37,832
Narrator:
THEIR COMPETITION TO CONTROL
259
00:12:37,934 --> 00:12:39,867
THE MULTI-MILLION-DOLLAR
NEWSPAPER INDUSTRY
260
00:12:39,969 --> 00:12:42,970
IS A STRUGGLE OVER SOMETHING
MUCH BIGGER --
261
00:12:43,072 --> 00:12:47,809
THE POWER TO SHAPE PERCEPTION
OF EVENTS AND INFLUENCE POLICY.
262
00:12:47,911 --> 00:12:50,378
Morris:
THEY BOTH WANT POWER,
263
00:12:50,480 --> 00:12:52,480
AND THEY BOTH WANT TO USE
JOURNALISM TO ACHIEVE IT.
264
00:12:52,582 --> 00:12:53,514
[ MAN SHOUTS IN SPANISH ]
265
00:12:53,616 --> 00:12:54,448
[ GUNS COCKING ]
266
00:12:54,551 --> 00:12:56,384
Narrator:
HEARST LIFTS CIRCULATION
267
00:12:56,486 --> 00:12:57,852
OF HIS PAPER, THE JOURNAL...
268
00:12:57,954 --> 00:12:59,220
[ MAN SHOUTS IN SPANISH ]
[ GUNSHOTS ]
269
00:12:59,322 --> 00:13:00,555
...WITH DRAMATIC STORIES
270
00:13:00,657 --> 00:13:03,991
ABOUT CUBA'S FIGHT
FOR INDEPENDENCE.
271
00:13:04,093 --> 00:13:06,460
THE STORIES APPEAL
TO AMERICA'S SENSE OF JUSTICE
272
00:13:06,563 --> 00:13:09,730
AND ITS DISTASTE FOR OPPRESSION.
273
00:13:09,833 --> 00:13:13,234
IF YOU LOOK AT THE GRAPHICS
OF THAT TIME, IN FULL OF COLOR,
274
00:13:13,303 --> 00:13:17,271
OF TEETH DRIPPING WITH BLOOD,
OF WOMEN HALF-NAKED,
275
00:13:17,373 --> 00:13:19,740
IMPLYING SEXUAL CRIMES
ABOUT THEM.
276
00:13:19,843 --> 00:13:21,876
[ MEN GROANING ]
277
00:13:21,978 --> 00:13:25,847
Narrator: PULITZER DECIDES
TO FIGHT FIRE WITH FIRE.
278
00:13:25,949 --> 00:13:29,884
HE SAW THE WAY CIRCULATION ROSE
AT HEARST'S NEWSPAPER,
279
00:13:29,986 --> 00:13:32,653
AND HE REALIZED
HE HAD TO COMPETE.
280
00:13:32,755 --> 00:13:38,292
Narrator: HE SENDS STAR REPORTER
SYLVESTER SCOVEL TO CUBA.
281
00:13:38,394 --> 00:13:40,528
SIR, WE'VE GOTTEN
ANOTHER STORY FROM SCOVEL.
282
00:13:40,630 --> 00:13:42,663
Campbell:
SCOVEL WAS AN AGGRESSIVE GUY.
283
00:13:42,765 --> 00:13:43,698
HE WAS OUT THERE.
284
00:13:43,800 --> 00:13:44,832
HE WAS KIND OF LIKE
THE JOURNALIST
285
00:13:44,934 --> 00:13:46,067
THAT WILLIAM RANDOLPH HEARST
286
00:13:46,202 --> 00:13:47,702
WOULD HAVE LIKED TO HAD
ON HIS STAFF.
287
00:13:47,804 --> 00:13:51,172
Narrator: THE SPANISH END UP
PUTTING SCOVEL IN PRISON
288
00:13:51,274 --> 00:13:54,775
FOR COMMUNICATING WITH
CUBAN INSURGENTS.
289
00:13:54,878 --> 00:13:57,745
SCOVEL'S JAILING WAS UNUSUAL
AT THE TIME.
290
00:13:57,847 --> 00:14:00,348
I MEAN, NOT MANY JOURNALISTS
ARE BEING THROWN INTO JAIL.
291
00:14:00,450 --> 00:14:04,652
THIS ISN'T GOING TO STAND!
292
00:14:04,754 --> 00:14:08,289
Narrator: SCOVEL MANAGES
TO KEEP REPORTING FROM PRISON.
293
00:14:08,391 --> 00:14:11,359
I SEE HE IS STILL ABLE
TO SNEAK OUT HIS COPY.
294
00:14:11,461 --> 00:14:15,062
YES. THE GUARDS
HAVE BEEN VERY HELPFUL.
295
00:14:15,164 --> 00:14:18,566
Narrator: PULITZER USES THESE
REPORTS TO PROMOTE HIS PAPER,
296
00:14:18,668 --> 00:14:20,101
THE NEW YORK WORLD.
297
00:14:20,203 --> 00:14:21,736
THE WORLD'S PLAYING THIS UP
298
00:14:21,838 --> 00:14:23,704
BECAUSE THERE'S THEIR MAN
IN CUBA.
299
00:14:23,806 --> 00:14:24,939
HE'S BEING HELD IN JAIL
300
00:14:25,041 --> 00:14:27,975
BY THE PERFIDIOUS SPANISH
AUTHORITIES RUNNING CUBA.
301
00:14:28,077 --> 00:14:30,645
Narrator: PULITZER REALIZES
THAT HIS REPORTER
302
00:14:30,747 --> 00:14:32,813
HAS BECOME THE STORY.
303
00:14:32,916 --> 00:14:36,450
START A CAMPAIGN
FOR HIS RELEASE.
304
00:14:36,552 --> 00:14:38,219
I HAVE FRIENDS
IN WASHINGTON.
305
00:14:38,321 --> 00:14:42,356
I WANT A PUBLIC OUTCRY
FOR HIS RELEASE.
306
00:14:43,927 --> 00:14:44,959
GET STARTED ON THAT.
307
00:14:45,061 --> 00:14:46,861
VERY WELL, SIR.
308
00:14:46,963 --> 00:14:50,865
80, 90 AMERICAN NEWSPAPERS BEGIN
TO CAMPAIGN FOR HIS RELEASE.
309
00:14:50,967 --> 00:14:55,102
PULITZER'S PLOY SUCCEEDS.
310
00:14:55,204 --> 00:14:56,570
AMERICAN POLITICIANS
311
00:14:56,673 --> 00:14:59,607
CALL FOR IMMEDIATE
GOVERNMENT INTERVENTION.
312
00:14:59,709 --> 00:15:01,208
Campbell: THE WORLD IS MAKING
THIS UP LIKE, YOU KNOW,
313
00:15:01,311 --> 00:15:03,744
HE'S ABOUT READY TO FACE
THE FIRING SQUAD AT ANY TIME.
314
00:15:03,846 --> 00:15:06,847
Narrator: IT'S A PIVOTAL MOMENT
FOR PULITZER.
315
00:15:06,950 --> 00:15:08,582
HIS ENTIRE CAREER,
316
00:15:08,685 --> 00:15:12,186
HE HAS PRIDED HIMSELF
ON TELLING ONLY THE FACTS.
317
00:15:12,288 --> 00:15:17,058
NOW HE'S SENSATIONALIZING THE
FACTS TO COMPETE WITH HEARST.
318
00:15:17,160 --> 00:15:19,293
AND SO THERE WAS SOME
EXAGGERATION OF THE CONDITIONS
319
00:15:19,395 --> 00:15:21,963
UNDER WHICH SCOVEL WAS KEPT.
320
00:15:22,065 --> 00:15:24,165
Narrator: EVENTUALLY,
SCOVEL IS RELEASED,
321
00:15:24,267 --> 00:15:27,234
THANKS TO THE INTENSE,
IF NOT ALWAYS ACCURATE,
322
00:15:27,337 --> 00:15:28,970
COVERAGE BY THE WORLD.
323
00:15:29,072 --> 00:15:31,973
PULITZER BEATS HEARST
AT HIS OWN GAME.
324
00:15:32,075 --> 00:15:35,242
THE NEW YORK WORLD
IS BACK ON TOP.
325
00:15:38,314 --> 00:15:40,915
BUT A NEW DISCOVERY
CLOSER TO HOME
326
00:15:41,017 --> 00:15:43,884
SHIFTS THE BATTLE
BACK TO NEW YORK CITY.
327
00:15:43,987 --> 00:15:46,153
HEY, WHAT IS THAT?
328
00:15:46,255 --> 00:15:49,724
Feldstein: TWO BOYS, ON A HOT,
SWELTERING SUMMER DAY IN JUNE,
329
00:15:49,826 --> 00:15:54,028
ARE PLAYING NEAR A PIER IN THE
LOWER EAST SIDE OF MANHATTAN.
330
00:15:54,130 --> 00:15:56,464
THEY SEE SOMETHING IN THE WATER.
331
00:15:56,566 --> 00:15:59,467
KIND OF LOOKS LIKE
A PACKAGE.
332
00:15:59,569 --> 00:16:01,769
THEY GO --
IT'S THE EAST RIVER --
333
00:16:01,871 --> 00:16:04,271
AND THEY FISH OUT A PACKAGE.
334
00:16:04,374 --> 00:16:06,741
A HEAVY PACKAGE.
WHAT IS THIS?
335
00:16:06,843 --> 00:16:12,079
Narrator: THE BOYS WRANGLE
THE PACKAGE TO THE SHORELINE.
336
00:16:12,181 --> 00:16:16,384
IT WAS WRAPPED IN THIS SPECIAL
CLOTH -- THIS OILCLOTH.
337
00:16:19,255 --> 00:16:20,254
AAH!
338
00:16:21,190 --> 00:16:22,356
EW.
339
00:16:22,458 --> 00:16:26,627
THE DUELING TITANS,
PULITZER AND HEARST,
340
00:16:26,729 --> 00:16:29,730
HAVE A NEW STORY FOR
AN INCREASINGLY RAVENOUS PUBLIC.
341
00:16:29,832 --> 00:16:31,465
GENTLEMEN,
I HAVE SOMETHING HERE
342
00:16:31,567 --> 00:16:33,200
THAT YOU MIGHT FIND
INTERESTING.
343
00:16:33,302 --> 00:16:35,503
OH!
344
00:16:35,605 --> 00:16:40,641
TURNS OUT IT'S A BODY --
A HEADLESS, LEGLESS TORSO.
345
00:16:40,710 --> 00:16:44,545
WE HAVE A WHITE MALE,
MID-30s, TORSO.
346
00:16:44,647 --> 00:16:47,815
Campbell: IT BECOMES
PRETTY CLEAR PRETTY QUICKLY
347
00:16:47,917 --> 00:16:52,286
THAT THIS IS A MURDER CASE
OF SOME...
348
00:16:52,388 --> 00:16:55,289
SOME EVIL DIMENSION,
IF YOU WILL.
349
00:16:55,391 --> 00:16:57,458
THERE'S A DEEP STAB WOUND
350
00:16:57,560 --> 00:17:02,296
BETWEEN THE FIFTH
AND THE SIXTH RIBS.
351
00:17:02,398 --> 00:17:04,565
SO, HE WAS STABBED
TO DEATH?
352
00:17:04,667 --> 00:17:06,333
IT'S LIKELY,
BUT, YOU KNOW,
353
00:17:06,436 --> 00:17:08,002
I DON'T HAVE THE REST
OF THE BODY.
354
00:17:08,104 --> 00:17:12,139
RIGHT FROM THE START,
THE PRESS, NOT THE POLICE,
355
00:17:12,241 --> 00:17:13,941
TAKE OVER THIS CASE.
356
00:17:14,043 --> 00:17:17,812
HE COULD HAVE A BULLET HOLE
TO THE HEAD, FOR ALL I KNOW.
357
00:17:17,914 --> 00:17:19,013
[ LAUGHTER ]
358
00:17:19,115 --> 00:17:20,848
AND THEY CALL IN THE CORONER,
359
00:17:20,950 --> 00:17:22,316
WHO CHECKS IT OUT AND SAYS,
360
00:17:22,418 --> 00:17:26,620
"GUESS WHAT. IT WAS ALIVE
LESS THAN 24 HOURS AGO."
361
00:17:26,722 --> 00:17:28,322
I'LL TELL YOU THIS --
362
00:17:28,424 --> 00:17:32,059
THERE WAS ONE HELL OF A STRUGGLE
BEFORE THIS MAN DIED.
363
00:17:32,161 --> 00:17:35,729
Narrator:
ONE YOUNG REPORTER, NED BROWN,
364
00:17:35,832 --> 00:17:37,965
WORKING FOR PULITZER'S WORLD,
365
00:17:38,067 --> 00:17:40,568
IS DETERMINED TO SOLVE
THE MYSTERY.
366
00:17:40,670 --> 00:17:42,570
WHAT ABOUT
IDENTIFYING MARKS?
367
00:17:42,672 --> 00:17:47,108
HIS HANDS -- THEY'RE SOFT,
NOT A MANUAL LABORER.
368
00:17:47,210 --> 00:17:48,943
ANY OTHER CLUES?
369
00:17:49,045 --> 00:17:52,646
AND THERE IS A SCAR
ON ONE FINGER.
370
00:17:52,748 --> 00:17:54,415
SO, IT'S LIKE, "WHOA.
WHO IS THIS GUY
371
00:17:54,517 --> 00:17:56,083
AND WHAT HAPPENED TO HIM
AND WHY?"
372
00:17:56,185 --> 00:17:57,818
THAT'S ALL FOR NOW, GENTLEMEN.
373
00:17:57,920 --> 00:18:00,855
AND THOSE ARE THE INGREDIENTS
OF A GREAT MURDER MYSTERY,
374
00:18:00,957 --> 00:18:01,789
THEN AND NOW.
375
00:18:01,891 --> 00:18:03,491
READ ALL ABOUT IT!
376
00:18:03,593 --> 00:18:07,561
HEADLESS TRUNK OF A MAN'S BODY
FOUND IN THE EAST RIVER!
377
00:18:07,663 --> 00:18:09,396
THE REAL CLUE TO
THE MURDER MYSTERY
378
00:18:09,499 --> 00:18:12,633
ONLY IN THE NEW YORK JOURNAL!
THE REAL CLUE!
379
00:18:12,735 --> 00:18:14,735
IT WAS A SENSATIONAL STORY.
380
00:18:14,837 --> 00:18:16,871
IF YOU WANT TO TALK ABOUT
SEX AND CRIME, THAT'S WHAT SOLD.
381
00:18:16,973 --> 00:18:19,240
AND THIS WAS A BIG CRIME.
382
00:18:19,342 --> 00:18:21,175
MR. HEARST, I'VE GOT AN ADVANCE
COPY OF THE WORLD.
383
00:18:21,277 --> 00:18:23,077
Narrator: WITHOUT ANY LEADS,
384
00:18:23,179 --> 00:18:25,179
PULITZER COMES UP WITH
A DIFFERENT STRATEGY
385
00:18:25,281 --> 00:18:26,514
TO ENGAGE HIS READERS.
386
00:18:26,616 --> 00:18:30,050
PULITZER'S OFFERING $500 TO
ANYONE WHO CAN I.D. THE VICTIM.
387
00:18:30,153 --> 00:18:31,385
I THINK HE'S GETTING
DESPERATE.
388
00:18:31,487 --> 00:18:34,054
DESPERATE?
NO, IT'S BRILLIANT.
389
00:18:34,157 --> 00:18:35,856
BUT I THINK
WE CAN DO BETTER.
390
00:18:35,958 --> 00:18:37,925
I'LL OFFER $1,000.
391
00:18:38,027 --> 00:18:42,463
HEARST ISN'T GONNA BE OUTDONE.
HE DOUBLES IT -- $1,000 REWARD.
392
00:18:42,565 --> 00:18:44,098
I WANT IT IN
THE EVENING PAPER.
393
00:18:44,200 --> 00:18:47,968
Narrator: IT'S AN AMOUNT
EQUIVALENT TO $28,000 TODAY.
394
00:18:48,070 --> 00:18:49,236
GET CRACKING.
395
00:18:49,338 --> 00:18:50,738
All: YES, SIR.
396
00:18:53,176 --> 00:18:56,110
THE PUBLIC IS EATING IT UP,
397
00:18:56,212 --> 00:19:00,481
SNAPPING UP THESE NEWSPAPERS
LIKE HOTCAKES.
398
00:19:00,583 --> 00:19:05,286
Narrator: THEN A SHOCKING NEW
DISCOVERY MESMERIZES THE CITY.
399
00:19:05,388 --> 00:19:07,755
WE GOT ANOTHER PACKAGE.
400
00:19:07,857 --> 00:19:10,057
GRAB YOUR PADS AND PENCILS,
GENTLEMEN.
401
00:19:10,159 --> 00:19:11,959
THIS IS A GOOD ONE.
402
00:19:12,061 --> 00:19:13,127
THE THING THAT'S
ODD ABOUT THIS
403
00:19:13,229 --> 00:19:16,530
IS THE LEG STUMPS
APPEAR TO HAVE BEEN BOILED.
404
00:19:16,632 --> 00:19:18,165
BOILED?
405
00:19:18,267 --> 00:19:20,000
ARE YOU TELLING US
THAT WE SHOULD BE LOOKING FOR
406
00:19:20,102 --> 00:19:21,735
SOME KIND OF...CANNIBAL?
[ CHUCKLES ]
407
00:19:21,837 --> 00:19:25,005
IT COULD BE AN ATTEMPT
TO DISPOSE OF THE BODY
408
00:19:25,107 --> 00:19:27,241
OR PERHAPS COVER IT UP
BY REMOVING THE SKIN.
409
00:19:27,343 --> 00:19:30,277
SOUNDS LIKE A BUTCHER'S
HANDIWORK.
410
00:19:30,379 --> 00:19:32,379
NO BUTCHER I'D WANT TO MEET.
411
00:19:32,481 --> 00:19:35,549
THE GUY HAS BEEN CUT UP, AND
DIFFERENT BODY PARTS WASH UP.
412
00:19:35,651 --> 00:19:38,152
ALL RIGHT. WHAT ELSE
CAN YOU TELL US ABOUT
413
00:19:38,254 --> 00:19:40,254
THE IDENTITY
OF THE VICTIM?
414
00:19:40,356 --> 00:19:43,123
WELL, FIND THE HEAD.
415
00:19:44,393 --> 00:19:45,392
YES?
416
00:19:45,494 --> 00:19:47,661
Narrator:
WITH FEW NEW CLUES TO GO ON
417
00:19:47,763 --> 00:19:49,396
AND A PUBLIC STARVING
FOR DETAILS,
418
00:19:49,498 --> 00:19:52,499
WORLD REPORTER NED BROWN
GOES OUT ON A LIMB
419
00:19:52,602 --> 00:19:56,904
WITH A HUNCH THAT COULD GAIN HIM
AND PULITZER THE UPPER HAND.
420
00:20:01,210 --> 00:20:03,677
¶¶
421
00:20:06,148 --> 00:20:08,515
Narrator: IN THE SUMMER OF 1897,
422
00:20:08,618 --> 00:20:11,685
NEW YORKERS ARE SPELLBOUND
BY A MURDER MYSTERY
423
00:20:11,787 --> 00:20:14,822
SURROUNDING THE DISCOVERY
OF A HEADLESS TORSO.
424
00:20:14,924 --> 00:20:18,792
IT WAS CALLED
"THE JIGSAW MURDER" BECAUSE,
425
00:20:18,894 --> 00:20:20,794
LIKE A JIGSAW PUZZLE,
426
00:20:20,896 --> 00:20:24,098
PIECES OF THE VICTIM
KEPT BEING FOUND
427
00:20:24,200 --> 00:20:27,501
IN DIFFERENT PARTS
OF NEW YORK CITY.
428
00:20:27,603 --> 00:20:31,205
Narrator: NEWSPAPER PUBLISHING
TITANS WILLIAM RANDOLPH HEARST
429
00:20:31,307 --> 00:20:34,575
AND JOSEPH PULITZER EXPLOIT
THE MURDER TO OUTDO EACH OTHER.
430
00:20:34,677 --> 00:20:35,776
HOT OFF THE PRESSES!
431
00:20:35,878 --> 00:20:38,846
Narrator: BUT IT'S ABOUT MORE
THAN JUST SELLING PAPERS.
432
00:20:38,948 --> 00:20:42,249
IT'S ABOUT CONTROLLING
THE PUBLIC'S ACCESS TO NEWS,
433
00:20:42,351 --> 00:20:45,586
WHICH IS THE KEY TO POWER
IN THE NEW DAWN OF INFORMATION.
434
00:20:45,688 --> 00:20:49,456
THEY PIONEERED THE FUTURE
OF JOURNALISM.
435
00:20:49,558 --> 00:20:52,126
THEY BUILT US THE MASS CULTURE.
436
00:20:52,228 --> 00:20:54,862
Morris: SO,
THIS REPRESENTS THE INVENTION
437
00:20:54,964 --> 00:20:56,497
OF THE MODERN MASS MEDIA,
438
00:20:56,599 --> 00:20:59,800
WHICH WAS AS FASCINATING
TO AMERICANS THEN
439
00:20:59,902 --> 00:21:02,436
AS THE INTERNET WOULD BE
IN THE 20th CENTURY.
440
00:21:05,608 --> 00:21:07,541
Narrator:
PULITZER SUFFERS MALADIES
441
00:21:07,643 --> 00:21:09,943
THAT PUT HIM AT A DISADVANTAGE.
442
00:21:10,046 --> 00:21:12,880
BLIND PEOPLE DID NOT
WANT TO BE SEEN.
443
00:21:12,982 --> 00:21:15,716
IT WAS AN INFIRMITY,
BEFORE HELEN KELLER CHANGED IT,
444
00:21:15,818 --> 00:21:17,284
THAT WAS LIKE A MARK.
445
00:21:17,386 --> 00:21:20,087
Narrator:
IT'S MORE THAN JUST BLINDNESS
446
00:21:20,189 --> 00:21:23,424
THAT'S FORCING HIM AWAY
FROM PUBLISHING'S FRONT LINES.
447
00:21:23,526 --> 00:21:25,959
PULITZER IS BESET
WITH PSYCHOLOGICAL PROBLEMS,
448
00:21:26,062 --> 00:21:28,729
MUCH LIKE HOWARD HUGHES WOULD BE
IN THE 20th CENTURY.
449
00:21:28,831 --> 00:21:31,932
HE HAS THIS KIND OF
GENERALIZED ANXIETY.
450
00:21:32,034 --> 00:21:37,071
PULITZER IS TRAVELING
FROM MAINE TO GEORGIA TO EUROPE,
451
00:21:37,173 --> 00:21:39,640
LOOKING FOR PLACES
THAT WILL GIVE HIM SOME PEACE
452
00:21:39,742 --> 00:21:41,275
AND QUIET AND CALM.
453
00:21:41,377 --> 00:21:45,045
Narrator: PEACE AND QUIET FOR
PULITZER IS NEARLY IMPOSSIBLE.
454
00:21:45,147 --> 00:21:46,013
[ TOAST CRUNCHING ]
455
00:21:46,115 --> 00:21:47,648
Morris:
EVERYTHING SETS HIM OFF,
456
00:21:47,750 --> 00:21:49,950
AND ONE OF THE THINGS
THAT SETS HIM OFF IS NOISE.
457
00:21:50,052 --> 00:21:52,286
HE IS CONSTANTLY FLEEING NOISE.
458
00:21:52,388 --> 00:21:54,021
[ TOAST CRUNCHING ]
459
00:21:54,123 --> 00:21:56,757
Narrator: ALTHOUGH HE'S PLAGUED
WITH CONSTANT PAIN,
460
00:21:56,859 --> 00:21:59,093
THE ONGOING COMPETITION
WITH HEARST
461
00:21:59,195 --> 00:22:01,929
PROVIDES PULITZER WITH
SOME COMFORTING DISTRACTION.
462
00:22:02,031 --> 00:22:05,899
AND ONE OF HIS REPORTERS
IS ABOUT TO CRACK OPEN
463
00:22:06,001 --> 00:22:09,937
THE MURDER CASE THAT WILL BRING
HIM CLOSER TO DEFEATING HEARST.
464
00:22:10,039 --> 00:22:15,242
THE PULITZER REPORTER REALIZES
THAT THESE HANDS MAY BE A CLUE,
465
00:22:15,344 --> 00:22:17,544
BECAUSE THEY'RE SOFT
AND THEY'RE MANICURED,
466
00:22:17,646 --> 00:22:20,481
AND HE THINKS,
"THIS MIGHT BE A MASSEUR."
467
00:22:20,583 --> 00:22:23,450
Narrator:
ON 42nd STREET IN TIMES SQUARE,
468
00:22:23,552 --> 00:22:26,286
THE MURRAY HILL BATHS
ARE A POPULAR DESTINATION
469
00:22:26,389 --> 00:22:29,156
FOR LATE-NIGHT HANGOVERS.
470
00:22:29,258 --> 00:22:30,691
PULITZER'S REPORTER, NED BROWN,
471
00:22:30,793 --> 00:22:34,094
ASKS AROUND
AND MAKES A DISCOVERY.
472
00:22:34,196 --> 00:22:38,198
AND HE SCOURS THE TURKISH BATHS
OF NEW YORK CITY
473
00:22:38,300 --> 00:22:41,368
UNTIL HE FINDS A MASSEUR
WHO'S GONE MISSING
474
00:22:41,470 --> 00:22:42,836
FOR THE PAST SEVERAL DAYS,
475
00:22:42,938 --> 00:22:47,241
A MAN BY THE NAME
OF WILLIAM GULDENSUPPE.
476
00:22:47,343 --> 00:22:50,377
THAT CLUE LEADS NED BROWN
TO AN APARTMENT
477
00:22:50,479 --> 00:22:53,947
OVER A DRUG STORE
NEAR 33rd AND 9th AVENUE.
478
00:22:54,049 --> 00:22:55,649
¶¶
479
00:22:55,751 --> 00:22:58,252
[ LOCK DISENGAGES ]
480
00:22:58,354 --> 00:22:59,553
YES?
481
00:22:59,655 --> 00:23:01,054
GOOD AFTERNOON.
482
00:23:01,157 --> 00:23:02,489
I'VE GOT A DEAL
YOU CAN'T REFUSE.
483
00:23:02,591 --> 00:23:06,059
AND HE POSES AS
A SOAP SALESMAN.
484
00:23:06,162 --> 00:23:08,929
HE LIES ABOUT HIS IDENTITY,
DOESN'T SAY HE'S A REPORTER.
485
00:23:09,031 --> 00:23:13,033
THESE ARE NEW, EXPENSIVE,
25¢ SOAPS.
486
00:23:13,135 --> 00:23:14,234
OH! 25¢?!
487
00:23:14,336 --> 00:23:16,870
BUT I'M PRACTICALLY
GIVING THEM AWAY FOR 5¢.
488
00:23:16,939 --> 00:23:19,740
Narrator: THE MISSING MASSEUR,
WILLIAM GULDENSUPPE,
489
00:23:19,842 --> 00:23:23,377
HAS BEEN LIVING WITH A MIDWIFE
NAMED AUGUSTA NACK.
490
00:23:23,479 --> 00:23:26,480
ALL I'M ASKING IN RETURN
IS TESTIMONIAL FROM CUSTOMERS.
491
00:23:26,582 --> 00:23:27,414
[ CHUCKLES ]
492
00:23:27,516 --> 00:23:28,782
[ SIGHS ]
493
00:23:28,884 --> 00:23:30,884
LET ME SEE THEM.
494
00:23:30,986 --> 00:23:32,486
I'VE ONLY GOT A COUPLE LEFT,
495
00:23:32,588 --> 00:23:35,722
BUT, UH, WHY DON'T YOU GO
TRY THEM IN THE BATHROOM?
496
00:23:35,825 --> 00:23:39,960
ALL RIGHT.
GIVE ME A SOAP.
497
00:23:40,062 --> 00:23:42,996
OOH.
IT DOES SMELL NICE.
498
00:23:43,098 --> 00:23:46,800
Narrator: HIS TACTIC WORKS.
499
00:23:46,902 --> 00:23:50,070
BROWN FRANTICALLY SEARCHES
FOR CLUES.
500
00:23:50,172 --> 00:23:56,043
LET YOUR HANDS SOAK IN IT.
EACH FINGER WILL FEEL CARESSED.
501
00:23:56,145 --> 00:23:59,046
AND HE SPOTS,
OUT OF THE CORNER OF HIS EYE,
502
00:23:59,148 --> 00:24:01,748
A PHOTOGRAPH IN HER LIVING ROOM.
503
00:24:03,419 --> 00:24:06,019
IT'S A PHOTO OF A MAN,
AND HE THINKS,
504
00:24:06,088 --> 00:24:07,621
"HMM. I WONDER..."
505
00:24:07,723 --> 00:24:10,290
AND HE SWIPES IT
WHEN SHE'S NOT LOOKING.
506
00:24:10,392 --> 00:24:12,860
THESE ARE VERY NICE SOAPS,
507
00:24:12,962 --> 00:24:15,462
BUT I DON'T WANT YOU
TO QUOTE ME FOR THE AD.
508
00:24:15,564 --> 00:24:17,898
[ CHUCKLES ]
THAT'S QUITE ALL RIGHT.
509
00:24:18,000 --> 00:24:21,034
I'LL TAKE TWO.
510
00:24:21,136 --> 00:24:23,570
Narrator:
BROWN HAS WHAT HE NEEDS...
511
00:24:23,672 --> 00:24:25,205
MM.
512
00:24:27,376 --> 00:24:30,244
...AND RETURNS TO THE NEWSROOM
TO CONVINCE PULITZER
513
00:24:30,346 --> 00:24:33,881
THAT THE VICTIM IS NONE OTHER
THAN THE MISSING MASSEUR,
514
00:24:33,983 --> 00:24:35,682
WILLIAM GULDENSUPPE.
515
00:24:35,784 --> 00:24:37,951
WENT TO A BATHHOUSE
IN TIMES SQUARE.
516
00:24:38,053 --> 00:24:40,721
SOURCE SAYS MASSEUR
HASN'T BEEN THERE FOR A WEEK.
517
00:24:40,823 --> 00:24:44,191
FITS THE DESCRIPTION --
SOFT HANDS, LARGE BUILD.
518
00:24:44,293 --> 00:24:46,560
YOU'RE GONNA WANT
TO PRINT THIS.
519
00:24:46,662 --> 00:24:49,162
ANOTHER WORLD REPORTER,
IKE WHITE,
520
00:24:49,265 --> 00:24:51,265
HAS HIS OWN
COMPETING THEORY.
521
00:24:51,367 --> 00:24:53,967
I'VE IDENTIFIED THE CORPSE --
THEODORE SYCLUM.
522
00:24:54,069 --> 00:24:56,203
WILLIAM GULDENSUPPE.
523
00:24:56,305 --> 00:24:58,472
HE'S OUR GUY.
THAT'S THE STORY TO RUN.
524
00:24:58,574 --> 00:25:02,776
IKE WHITE HAS TRACKED DOWN
THEODORE SYCLUM BASED ON A WOUND
525
00:25:02,878 --> 00:25:05,412
ON THE CORPSE'S FINGER.
526
00:25:05,514 --> 00:25:07,281
HE'S A CABINET MAKER
WHO'S BEEN MISSING FROM HIS JOB
527
00:25:07,383 --> 00:25:10,017
SINCE LAST THURSDAY,
AND A WOUND ON THE CORPSE
528
00:25:10,119 --> 00:25:12,586
IS TYPICAL FOR SOMEONE
IN HIS LINE OF WORK.
529
00:25:12,688 --> 00:25:15,322
WHAT ABOUT MOTIVE
OR WITNESSES?
530
00:25:15,424 --> 00:25:17,991
WHITE IS KNOWN
IN THE NEW YORK WORLD'S NEWSROOM
531
00:25:18,093 --> 00:25:21,595
FOR HIS ABILITY
TO HUNT DOWN OBSCURE CLUES.
532
00:25:21,697 --> 00:25:24,531
I EVEN TRACKED ONE DIAMOND BEAD
3220 OILCLOTH
533
00:25:24,633 --> 00:25:27,968
TO A PEDDLER WHO ALSO
SOLD THE SAME TYPE OF CORD
534
00:25:28,103 --> 00:25:29,903
USED TO TIE THE PARCELS,
AND THIS PEDDLER --
535
00:25:30,005 --> 00:25:33,106
HE WORKS RIGHT NEAR SYCLUM.
536
00:25:34,610 --> 00:25:37,678
WE'LL GO WITH
THE CABINET MAKER.
537
00:25:37,780 --> 00:25:40,847
AND PULITZER GOES WITH
HIS MORE EXPERIENCED REPORTER
538
00:25:40,950 --> 00:25:44,685
AND SITS ON THE STORY.
539
00:25:47,256 --> 00:25:50,123
WELL, THAT GIVES HEARST
THE CHANCE TO BREAK IT.
540
00:25:53,062 --> 00:25:55,896
HEARST SENDS A TEAM OF REPORTERS
OUT ON BIKES
541
00:25:55,998 --> 00:25:58,665
TO TRACK DOWN THE CLUES.
542
00:25:58,767 --> 00:26:01,668
THEY HAD THESE BRIGADES
OF BICYCLISTS
543
00:26:01,770 --> 00:26:03,403
THAT THEY CALLED
"THE WRECKING CREW"
544
00:26:03,505 --> 00:26:06,740
THAT THEY WOULD SEND OUT
ALL OVER THE CITY.
545
00:26:06,842 --> 00:26:08,976
WHAT WE WOULD CALL IT TODAY
IS, LIKE, FLOOD THE ZONE.
546
00:26:09,078 --> 00:26:11,745
Feldstein: AND THEY'RE
LOOKING FOR THE CLOTH
547
00:26:11,847 --> 00:26:13,780
THAT THE BODY WAS WRAPPED IN.
548
00:26:13,882 --> 00:26:17,584
Narrator: HEARST REPORTERS
TRACK DOWN THE STORE
549
00:26:17,686 --> 00:26:22,222
THAT SOLD THE OILCLOTH AND LEARN
THE NAME OF THE BUYER --
550
00:26:22,324 --> 00:26:23,924
AUGUSTA NACK.
551
00:26:24,026 --> 00:26:26,693
HEARST IS CONVINCED
SHE'S THE CULPRIT
552
00:26:26,795 --> 00:26:28,996
AND INTENDS ON KEEPING
THE SCOOP.
553
00:26:29,098 --> 00:26:34,167
SO, THE HEARST TEAM RUSHES OVER
TO WHERE AUGUSTA NACK LIVES,
554
00:26:34,269 --> 00:26:37,638
AND HEARST HIMSELF
CLIMBS ON A BICYCLE
555
00:26:37,740 --> 00:26:39,973
AND SPEEDS THROUGH TOWN.
556
00:26:40,075 --> 00:26:43,844
Narrator: HEARST, THE
MILLIONAIRE PUBLISHING MOGUL,
557
00:26:43,946 --> 00:26:45,846
ARRIVES AT THE APARTMENT.
558
00:26:45,948 --> 00:26:47,581
AUGUSTA HAS VANISHED.
559
00:26:47,683 --> 00:26:50,751
WILLIAM RANDOLPH HEARST
FOUND OUT THAT THE LEASE WAS UP
560
00:26:50,853 --> 00:26:51,918
ON THE APARTMENT.
561
00:26:52,021 --> 00:26:53,820
Narrator:
TO KEEP THE STORY EXCLUSIVE,
562
00:26:53,922 --> 00:26:56,356
HEARST WANTS TO RESTRICT
PULITZER'S REPORTERS
563
00:26:56,458 --> 00:26:59,226
FROM HAVING ACCESS
TO THE HOT NEW LEAD.
564
00:26:59,328 --> 00:27:01,995
As Hearst: SO,
FROM NOW ON,
ONLY I AND MY MEN
565
00:27:02,097 --> 00:27:03,664
AND THE POLICE, OF COURSE,
566
00:27:03,766 --> 00:27:06,133
SHALL HAVE ACCESS
TO THIS APARTMENT.
567
00:27:06,235 --> 00:27:08,001
UNDERSTOOD?
568
00:27:08,103 --> 00:27:11,138
SO, HE ACTUALLY LEASED
THE APARTMENT
569
00:27:11,240 --> 00:27:13,340
AND BROUGHT REPORTERS
DOWN THERE.
570
00:27:13,442 --> 00:27:15,676
HE WALKED THROUGH THE EVIDENCE.
571
00:27:15,778 --> 00:27:20,881
AND HE THEN STATIONS GUARDS
AT EVERY EXIT OF THE BUILDING
572
00:27:20,983 --> 00:27:22,916
TO KEEP EVERYONE OUT.
573
00:27:23,018 --> 00:27:25,786
HE HAS HIS STAFF
CUT THE PHONE LINES
574
00:27:25,888 --> 00:27:27,721
OF ALL THE PAY PHONES NEARBY
575
00:27:27,823 --> 00:27:29,690
SO THAT IF THEY DISCOVER
WHERE IT IS,
576
00:27:29,792 --> 00:27:31,792
THEY CAN'T CALL FOR BACKUP.
577
00:27:31,894 --> 00:27:36,129
AND HE IS DETERMINED
TO OWN THE STORY, AND HE DOES.
578
00:27:36,231 --> 00:27:40,734
Shahid: IT WAS NO HOLDS BARRED.
ETHICS WERE OUT THE WINDOW.
579
00:27:40,836 --> 00:27:42,035
THEY WEREN'T EVEN CONSIDERED,
580
00:27:42,137 --> 00:27:44,771
BECAUSE THE GOAL
WAS TO SELL NEWSPAPERS.
581
00:27:44,873 --> 00:27:47,474
Narrator:
WITH THE APARTMENT SECURE,
582
00:27:47,576 --> 00:27:51,244
HEARST'S TEAM WATCHES OVER
THE POLICE WITH A CLOSE EYE.
583
00:27:51,346 --> 00:27:53,447
Campbell: THEY'RE THERE WITH
THE INVESTIGATORS,
584
00:27:53,549 --> 00:27:55,115
YOU KNOW,
POKING THROUGH THE STUFF.
585
00:27:55,217 --> 00:27:58,351
Narrator: AS THE POLICE
SEARCH THE APARTMENT,
586
00:27:58,454 --> 00:28:01,288
THEY FIND A POTENTIAL
MURDER WEAPON.
587
00:28:04,326 --> 00:28:05,425
[ SNAPS FINGERS ]
588
00:28:05,527 --> 00:28:09,162
IT'S ENOUGH EVIDENCE
TO ARREST AUGUSTA NACK.
589
00:28:09,264 --> 00:28:14,601
HEARST'S JOURNAL CLAIMS VICTORY
OVER PULITZER'S NEW YORK WORLD.
590
00:28:14,703 --> 00:28:18,171
SO, THE PRESS DID
WHAT THE POLICE COULDN'T.
591
00:28:18,273 --> 00:28:19,740
THEY CRACKED THE CASE.
592
00:28:19,842 --> 00:28:21,975
HEARST IS EMBOLDENED
BY THE SUCCESS
593
00:28:22,077 --> 00:28:24,311
OF HIS AGGRESSIVE REPORTING,
594
00:28:24,413 --> 00:28:27,447
AND HE'S ABOUT TO CROSS
ANOTHER JOURNALISTIC LINE,
595
00:28:27,549 --> 00:28:32,018
ENDANGERING LIVES,
RISKING DIPLOMATIC RELATIONS,
596
00:28:32,121 --> 00:28:34,254
AND EVEN WAR.
597
00:28:38,660 --> 00:28:40,994
¶¶
598
00:28:41,096 --> 00:28:43,597
[ TYPEWRITERS CLACKING ]
599
00:28:43,699 --> 00:28:45,398
Narrator: BY 1897,
600
00:28:45,501 --> 00:28:47,701
JOSEPH PULITZER'S NEW YORK WORLD
601
00:28:47,803 --> 00:28:50,303
AND WILLIAM RANDOLPH HEARST'S
NEW YORK JOURNAL
602
00:28:50,405 --> 00:28:52,806
HAVE SOLVED THE JIGSAW
MURDER MYSTERY.
603
00:28:52,908 --> 00:28:55,776
AND THEY'VE DONE SO
BY BREAKING TRADITIONAL RULES
604
00:28:55,878 --> 00:28:58,378
AND BENDING ETHICS.
605
00:28:58,480 --> 00:29:03,316
NOW THOSE TACTICS WILL BE USED
ON ANOTHER, MORE DANGEROUS FRONT
606
00:29:03,418 --> 00:29:05,852
THAT WILL HAVE
FAR-REACHING CONSEQUENCES,
607
00:29:05,954 --> 00:29:07,420
ENDANGERING LIVES
608
00:29:07,523 --> 00:29:10,957
AND DESTABILIZING
INTERNATIONAL POLITICS.
609
00:29:11,059 --> 00:29:13,760
THIS IS AN ACTIVIST BRAND
OF JOURNALISM THAT A NEWSPAPER
610
00:29:13,862 --> 00:29:17,330
HAS AN OBLIGATION TO INJECT
ITSELF INTO PUBLIC AFFAIRS
611
00:29:17,432 --> 00:29:20,133
AND TO CORRECT THE WRONGS
OF SOCIETY
612
00:29:20,235 --> 00:29:21,835
TO THE EXTENT THAT IT CAN.
613
00:29:21,937 --> 00:29:25,138
SO, THEY HAD A LOT OF INFLUENCE.
THEY HAD A LOT OF POWER.
614
00:29:27,543 --> 00:29:30,744
Narrator: NOW HEARST TURNS
HIS ATTENTION BACK TO CUBA
615
00:29:30,846 --> 00:29:34,915
AND FINDS THE PERFECT STORY
IN EVANGELINA CISNEROS.
616
00:29:35,017 --> 00:29:39,586
EVANGELINA CISNEROS
WAS A YOUNG CUBAN NATIONAL
617
00:29:39,688 --> 00:29:42,556
WHO WAS CAUGHT UP IN
A PLOT, APPARENTLY,
618
00:29:42,658 --> 00:29:47,360
TO KILL THE SPANISH COMMANDER
ON A PENAL COLONY
619
00:29:47,462 --> 00:29:48,995
ON THE ISLE OF PINES.
620
00:29:49,097 --> 00:29:52,299
Narrator: THE ISLE OF PINES
HOUSES CUBAN REBEL LEADERS
621
00:29:52,401 --> 00:29:54,768
AND FAMILY MEMBERS
FIGHTING FOR INDEPENDENCE
622
00:29:54,870 --> 00:29:57,404
FROM AN OPPRESSIVE
SPANISH GOVERNMENT.
623
00:29:57,506 --> 00:29:59,239
FOR MANY AMERICANS,
624
00:29:59,341 --> 00:30:03,577
CUBA'S INDEPENDENCE MOVEMENT HAS
A FAMILIAR PATRIOTIC CALLING.
625
00:30:03,679 --> 00:30:08,815
AS THE NIECE OF A REBEL LEADER,
EVANGELINA IS BEING HELD HERE.
626
00:30:08,917 --> 00:30:11,151
Morris: EVANGELINA CISNEROS
WAS A WOMAN
627
00:30:11,253 --> 00:30:13,820
WHO PROBABLY WAS ALLIED WITH
THE INDEPENDENCE MOVEMENT
628
00:30:13,922 --> 00:30:15,622
IN CUBA AND IS ARRESTED.
629
00:30:15,724 --> 00:30:17,190
BUT BECAUSE SHE'S A WOMAN,
630
00:30:17,292 --> 00:30:21,328
HEARST USED HER IN A PARTICULAR
WAY IN HIS CIRCULATION WAR.
631
00:30:21,430 --> 00:30:23,563
Narrator: THERE ARE TWO VERSIONS
OF WHAT HAPPENS
632
00:30:23,665 --> 00:30:26,833
BETWEEN EVANGELINA
AND THE SPANISH COMMANDER THERE,
633
00:30:26,935 --> 00:30:29,236
COLONEL JOSé BERRIZ.
634
00:30:29,338 --> 00:30:31,204
IN THE FIRST VERSION,
635
00:30:31,306 --> 00:30:36,276
SHE IS A NAIVE YOUNG WOMAN
STALKED BY THE SPANISH COMMANDER
636
00:30:36,378 --> 00:30:38,144
AND ATTACKED OUT OF LUST.
637
00:30:38,247 --> 00:30:39,279
[ SCREAMS ]
638
00:30:40,682 --> 00:30:43,683
IN THE SECOND VERSION,
639
00:30:43,785 --> 00:30:47,888
SHE LURES THE COMMANDER
INTO HER RESIDENCE,
640
00:30:47,990 --> 00:30:50,357
CUBAN REBELS HIDE IN WAIT...
641
00:30:52,327 --> 00:30:53,226
[ SCREAMS ]
642
00:30:53,328 --> 00:30:54,761
...THEN ATTACK
AND CAPTURE BERRIZ
643
00:30:54,863 --> 00:30:56,997
AS PART OF AN ESCAPE PLAN.
644
00:31:00,903 --> 00:31:05,538
BUT THE SPANISH GUARDS ARRIVE
AND FOIL THE PLOT.
645
00:31:05,641 --> 00:31:07,674
EITHER WAY,
646
00:31:07,776 --> 00:31:10,710
EVANGELINA'S IMPRISONMENT
TAKES A TURN FOR THE WORSE.
647
00:31:10,812 --> 00:31:15,882
EVANGELINA CISNEROS
IS TAKEN TO HAVANA IN CHAINS,
648
00:31:15,984 --> 00:31:19,619
AND SHE IS KEPT IN A JAIL
FOR WOMEN.
649
00:31:19,721 --> 00:31:22,856
AND SHE IS KEPT IN
VERY TOUGH CONDITIONS.
650
00:31:22,958 --> 00:31:26,159
Narrator:
SHE IS EDUCATED, REFINED,
651
00:31:26,261 --> 00:31:29,296
AND UNMISTAKABLY BEAUTIFUL.
652
00:31:29,398 --> 00:31:31,564
HEARST'S NEWSPAPER SAID
THAT SHE'S GUILTY
653
00:31:31,667 --> 00:31:33,967
OF ONLY HAVING THE BEST BLOOD
IN CUBA IN HER VEINS.
654
00:31:34,102 --> 00:31:37,604
OTHERWISE, SHE'S AN INNOCENT
VICTIM OF THE CUBAN REBELLION.
655
00:31:37,706 --> 00:31:40,607
Narrator: AND HEARST
MAKES THE MOST OF HER STORY.
656
00:31:40,709 --> 00:31:43,643
IT'S A DAMSEL IN DISTRESS STORY
MADE FOR NEWSPAPERS.
657
00:31:43,745 --> 00:31:47,847
Narrator: HEARST SMARTLY USES
THE STORY LINE AS A SYMBOL
658
00:31:47,950 --> 00:31:51,551
FOR CUBAN OPPRESSION
UNDER SPANISH COLONIAL RULE.
659
00:31:51,653 --> 00:31:55,922
SO, WHAT HEARST DOES IS SEND
TO CUBA A GUY NAMED KARL DECKER.
660
00:31:56,024 --> 00:31:58,158
DECKER WAS IN
THE WASHINGTON, D.C., BUREAU
661
00:31:58,260 --> 00:32:01,761
OF THE NEW YORK JOURNAL,
AND HE GOES THERE, OSTENSIBLY,
662
00:32:01,863 --> 00:32:03,830
AS THE JOURNAL'S MAN IN HAVANA.
663
00:32:03,932 --> 00:32:07,267
DECKER SECURES A ROOM
ACROSS FROM THE PRISON
664
00:32:07,369 --> 00:32:09,769
WHERE CISNEROS IS BEING HELD.
665
00:32:09,871 --> 00:32:13,440
DECKER'S SECRET INSTRUCTIONS
ARE TO FIND A WAY
666
00:32:13,542 --> 00:32:15,742
TO BREAK EVANGELINA CISNEROS
OUT OF JAIL
667
00:32:15,844 --> 00:32:18,278
AND GET HER TO THE UNITED STATES
SAFELY.
668
00:32:23,385 --> 00:32:25,218
Narrator:
DECKER AND HIS ACCOMPLICES,
669
00:32:25,320 --> 00:32:27,854
WHO WERE ABLE TO PASS
INSTRUCTIONS TO EVANGELINA,
670
00:32:27,956 --> 00:32:31,291
SET OUT IN THE DEAD OF NIGHT.
671
00:32:33,562 --> 00:32:35,895
THEY CROSS BETWEEN BUILDINGS...
672
00:32:38,100 --> 00:32:42,268
...AND SCALE THE PRISON WALLS.
673
00:32:42,371 --> 00:32:47,007
HEARST'S PLAN IS A FLAGRANT
CROSSING OF A JOURNALISTIC LINE.
674
00:32:47,109 --> 00:32:49,175
HE IS NOW IN THE BUSINESS
OF CREATING
675
00:32:49,277 --> 00:32:52,045
AND DIRECTLY INFLUENCING
THE STORY.
676
00:32:52,147 --> 00:32:55,015
[ METAL CLATTERS ]
677
00:32:55,117 --> 00:32:59,285
MEANWHILE, EVANGELINA,
WHO IS IN ON THE PLAN,
678
00:32:59,388 --> 00:33:01,087
DRUGS HER CELL MATE,
679
00:33:01,189 --> 00:33:05,091
THEN TIES A WHITE CLOTH
TO THE WINDOW BARS
680
00:33:05,193 --> 00:33:06,860
TO SIGNAL DECKER.
681
00:33:11,433 --> 00:33:14,434
DECKER FINALLY ARRIVES,
682
00:33:14,536 --> 00:33:17,404
RISKING HIS LIFE
TO CREATE A FAIRYTALE RESCUE
683
00:33:17,506 --> 00:33:20,540
THAT HEARST KNOWS WILL RESONATE
WITH AMERICANS.
684
00:33:20,642 --> 00:33:23,309
Campbell: AND THEY BREAK
THE BARS WITHOUT ANY PROBLEM...
685
00:33:24,546 --> 00:33:29,315
...AND THEN SMUGGLE HER OUT
ACROSS THE MOONLIT ROOFTOP
686
00:33:29,418 --> 00:33:31,084
OF THE JAIL,
687
00:33:31,186 --> 00:33:33,720
ACROSS A VERY CREAKY PLANK
688
00:33:33,822 --> 00:33:36,089
CONNECTING IT TO
ANOTHER BUILDING.
689
00:33:38,560 --> 00:33:42,929
EVANGELINA CISNEROS
HAS BEEN BROKEN OUT OF JAIL
690
00:33:43,031 --> 00:33:45,865
AND THEN, DRESSED AS A BOY,
691
00:33:45,967 --> 00:33:48,268
IS ESCORTED ABOARD
A PASSENGER STEAMER --
692
00:33:48,370 --> 00:33:52,172
AMERICAN-FLAGGED PASSENGER
STEAMER HEADED TO NEW YORK CITY.
693
00:33:52,274 --> 00:33:54,274
¶¶
694
00:33:54,376 --> 00:33:57,310
[ INSECTS CHIRPING ]
695
00:33:57,412 --> 00:34:00,580
Narrator:
WITH THE DARING RESCUE COMPLETE,
696
00:34:00,682 --> 00:34:03,283
HEARST CAN NOW BASK
IN ITS GLORY.
697
00:34:03,385 --> 00:34:06,886
I HAVE A SPECIAL GUEST
TONIGHT -- EVANGELINA CISNEROS,
698
00:34:06,988 --> 00:34:09,689
RESCUED FROM PRISON
IN THE MOST DARING JAILBREAK
699
00:34:09,758 --> 00:34:11,991
IN THE HISTORY
OF THE WAR.
700
00:34:12,094 --> 00:34:16,596
HER ENGINEERED RESCUE IS ANOTHER
CIRCULATION COUP FOR HEARST.
701
00:34:16,698 --> 00:34:19,365
IF THE U.S. GOVERNMENT CAN'T
GET IT DONE, THE JOURNAL WILL.
702
00:34:19,468 --> 00:34:20,500
[ CHEERS AND APPLAUSE ]
703
00:34:20,602 --> 00:34:22,936
[ CHEERS AND APPLAUSE ]
704
00:34:23,038 --> 00:34:26,339
ARROGANCE AND RECKLESS DISREGARD
FOR ETHICS
705
00:34:26,441 --> 00:34:29,509
NOW GUIDE HEARST'S ACTIONS.
706
00:34:29,611 --> 00:34:31,211
Feldstein:
SO, THERE WAS HEARST, YOU KNOW,
707
00:34:31,313 --> 00:34:35,715
MASTER OF CEREMONIES
FOR THIS PLAY HE HAD CREATED,
708
00:34:35,817 --> 00:34:40,220
THIS VAUDEVILLIAN DRAMA
THAT HE COVERED EVERY DAY
709
00:34:40,322 --> 00:34:42,188
ON THE FRONT PAGES
OF THE NEWSPAPERS
710
00:34:42,290 --> 00:34:44,757
AS HIS CIRCULATION SKYROCKETED.
711
00:34:44,860 --> 00:34:48,995
Narrator: HEARST'S SUCCESS
ONLY EMBOLDENS HIM.
712
00:34:49,097 --> 00:34:50,697
THIS MEANS WAR.
713
00:34:50,799 --> 00:34:53,766
Narrator: HE INTENSIFIES HIS
EFFORTS AND SETS A TRAP
714
00:34:53,869 --> 00:34:57,403
TO DESTROY PULITZER
AND END THEIR EPIC FEUD.
715
00:34:57,506 --> 00:34:59,472
THE FACTS!
JUST THE FACTS!
716
00:34:59,574 --> 00:35:02,609
WHAT HAPPENED TO
"JUST THE FACTS?!"
717
00:35:06,948 --> 00:35:09,382
¶¶
718
00:35:09,484 --> 00:35:10,984
[ TYPEWRITERS CLACKING ]
719
00:35:11,086 --> 00:35:15,355
Narrator: IN 1898,
JOSEPH PULITZER'S NEW YORK WORLD
720
00:35:15,457 --> 00:35:18,491
AND WILLIAM RANDOLPH HEARST'S
NEW YORK JOURNAL
721
00:35:18,593 --> 00:35:21,561
PUSH THE BOUNDS OF JOURNALISM
TO THE BREAKING POINT.
722
00:35:21,663 --> 00:35:24,731
THEY COMPETE
TO BOOST CIRCULATION
723
00:35:24,833 --> 00:35:26,299
AND CONSOLIDATE MEDIA POWER.
724
00:35:26,401 --> 00:35:28,434
THEY WERE BATTLING
FOR THE SUPREMACY
725
00:35:28,537 --> 00:35:29,736
OF NEW YORK CITY -- YOU KNOW,
726
00:35:29,838 --> 00:35:32,639
WHO WAS GOING TO BE
THE TOP BOSS, THE TOP TITAN.
727
00:35:32,741 --> 00:35:36,309
Narrator:
HEARST'S DARING PRISON RESCUE
728
00:35:36,411 --> 00:35:38,745
OF A WILDLY SYMPATHETIC
PRISONER OF WAR
729
00:35:38,847 --> 00:35:42,749
ONLY FUELS HIS APPETITE
FOR SOMETHING BIGGER IN CUBA.
730
00:35:42,851 --> 00:35:47,120
HE GETS HIS OPPORTUNITY
WHEN DISASTER STRIKES
731
00:35:47,222 --> 00:35:51,024
A U.S. BATTLESHIP
STATIONED IN THE HAVANA HARBOR.
732
00:35:51,126 --> 00:35:52,458
Campbell: THE U.S.S. MAINE,
733
00:35:52,561 --> 00:35:54,594
ON A SORT OF FRIENDLY VISIT
TO HAVANA,
734
00:35:54,696 --> 00:35:57,330
EXPLODES MYSTERIOUSLY.
735
00:35:57,432 --> 00:35:59,999
THE LOSS OF LIFE -- MORE THAN
200 AMERICAN SAILORS ARE KILLED
736
00:36:00,101 --> 00:36:03,136
AND MANY OTHERS
ARE GRIEVOUSLY INJURED.
737
00:36:03,238 --> 00:36:06,005
WHAT'S THE NEWS
FROM CUBA?
738
00:36:06,107 --> 00:36:07,941
MR. HEARST,
THE U.S.S. MAINE HAS BEEN SUNK.
739
00:36:08,043 --> 00:36:12,679
HEARST, AT THAT MOMENT, REALIZES
HE HAS THE STORY HE WANTS.
740
00:36:12,781 --> 00:36:15,215
WE PUT IT ON THE FRONT PAGE
WITH ALL THE OTHER NEWS?
741
00:36:15,317 --> 00:36:17,217
THERE IS NO OTHER BIG NEWS.
742
00:36:17,319 --> 00:36:20,453
Feldstein: AND NOBODY KNEW
WHO BLEW UP THE MAINE,
743
00:36:20,555 --> 00:36:22,922
BUT HEARST HAD NO DOUBT
WHO WAS AT FAULT
744
00:36:23,024 --> 00:36:25,558
OR AT LEAST WHO HE WAS GOING
TO BLAME IN HIS NEWSPAPER...
745
00:36:25,660 --> 00:36:28,828
SPREAD THE STORY OVER
THE ENTIRE FRONT PAGE.
746
00:36:28,930 --> 00:36:29,963
...AND THAT WAS THE SPANISH.
747
00:36:30,065 --> 00:36:32,966
THIS MEANS WAR.
748
00:36:33,068 --> 00:36:35,768
Narrator:
PULITZER AND HIS NEW YORK WORLD,
749
00:36:35,870 --> 00:36:39,005
DRIVEN BY THE DIZZYING
NEW HEIGHTS OF SENSATIONALISM,
750
00:36:39,107 --> 00:36:41,541
ALSO PLAY UP THE DISASTER.
751
00:36:41,643 --> 00:36:43,409
LET'S MAKE THIS BIGGER.
752
00:36:43,511 --> 00:36:48,314
PULITZER SAW THE WAY CIRCULATION
ROSE AT HEARST'S NEWSPAPER,
753
00:36:48,416 --> 00:36:51,251
AND HE REALIZED
HE HAD TO COMPETE.
754
00:36:51,353 --> 00:36:54,354
AND SO HE THREW HIMSELF
INTO RUNNING COVERAGE
755
00:36:54,456 --> 00:37:00,193
THAT WAS AS SHRILL AND EXTREME
AND PRO-WAR AS HEARST.
756
00:37:01,329 --> 00:37:03,263
Narrator: ON APRIL 25th,
757
00:37:03,365 --> 00:37:05,665
AS THE TWO LARGEST NEWSPAPERS
IN THE WORLD
758
00:37:05,767 --> 00:37:08,801
RATTLED THEIR BATTLE SABERS
TO CAPTURE READERS,
759
00:37:08,903 --> 00:37:12,672
THE UNITED STATES
DECLARES WAR ON SPAIN.
760
00:37:12,774 --> 00:37:16,576
SO, IT'S "REMEMBER THE MAINE,
REMEMBER THE MAINE,
761
00:37:16,678 --> 00:37:18,144
AND TO HELL WITH SPAIN."
762
00:37:18,246 --> 00:37:21,748
BECAUSE WE WANTED A WAR,
THE NEWSPAPERS WANTED A WAR,
763
00:37:21,850 --> 00:37:23,082
AND THAT'S WHAT WE HAD.
764
00:37:23,184 --> 00:37:27,253
Narrator: HEARST, PUSHING
THE BOUNDS OF SENSATIONALISM,
765
00:37:27,355 --> 00:37:29,689
REACHES AN UNHEARD-OF MILESTONE.
766
00:37:29,791 --> 00:37:31,557
Feldstein:
AND FOR THE FIRST TIME,
767
00:37:31,660 --> 00:37:35,295
HEARST SOLD MORE THAN
ONE MILLION COPIES
768
00:37:35,397 --> 00:37:37,764
OF HIS NEWSPAPER
EVERY SINGLE DAY.
769
00:37:37,866 --> 00:37:41,567
THAT WAS A GOAL PULITZER
HAD COVETED FOR A LONG TIME.
770
00:37:42,604 --> 00:37:44,904
[ SLOW-TEMPO MUSIC PLAYS ]
771
00:37:45,006 --> 00:37:49,542
Narrator:
IT'S A DEVASTATING BLOW.
772
00:37:49,644 --> 00:37:52,912
PULITZER'S WORLD
IS TAKING A DRUMMING.
773
00:37:54,582 --> 00:37:56,783
[ MUSIC STOPS ]
774
00:37:56,885 --> 00:37:58,084
LET'S HEAR IT.
775
00:37:58,186 --> 00:38:00,520
WHAT ARE THE LATEST
CIRCULATION NUMBERS?
776
00:38:00,622 --> 00:38:03,356
Campbell: HEARST AND PULITZER
ARE, LIKE, NECK AND NECK.
777
00:38:03,458 --> 00:38:06,025
THE CIRCULATION GAP BETWEEN
THE TWO NEWSPAPERS
778
00:38:06,127 --> 00:38:08,094
HAS REALLY NARROWED
DRAMATICALLY.
779
00:38:08,196 --> 00:38:11,297
IT'S EATING INTO
MY PROFITS.
780
00:38:11,399 --> 00:38:14,100
Narrator: PULITZER IS INFORMED
THAT HEARST,
781
00:38:14,202 --> 00:38:17,537
WITH HIS DEEP POCKETS,
CAN CONTINUE TO SPEND AT WILL.
782
00:38:17,639 --> 00:38:19,872
HERE'S WHAT WE'LL DO.
783
00:38:19,974 --> 00:38:22,108
WE HAVE TO MAKE CUTS
ACROSS THE BOARD.
784
00:38:22,210 --> 00:38:24,243
IT'S THE ONLY WAY
TO SAVE THE PAPER.
785
00:38:24,346 --> 00:38:25,211
DO IT.
786
00:38:25,313 --> 00:38:26,546
YES, SIR.
787
00:38:28,283 --> 00:38:31,718
[ SIGHS ]
788
00:38:31,820 --> 00:38:32,885
[ TYPEWRITERS CLACKING ]
789
00:38:32,987 --> 00:38:34,954
Narrator: WITH FEWER REPORTERS
AND EDITORS,
790
00:38:35,056 --> 00:38:38,691
THE STAFF AT PULITZER'S WORLD
CAN'T KEEP UP WITH THE JOURNAL.
791
00:38:38,793 --> 00:38:41,794
THE DEATH OF
COLONEL REFLIPE W. THENUZ?
792
00:38:41,896 --> 00:38:43,763
HOW COME WE DIDN'T
HEAR ABOUT THIS?
793
00:38:43,865 --> 00:38:49,135
A COLONEL IN EUROPE?
HE DIED IN BATTLE?
794
00:38:49,237 --> 00:38:51,904
NO ONE CAUGHT THIS
ON THE WIRE?
795
00:38:52,006 --> 00:38:54,941
Morris: THE WORLD STUPIDLY
REPRINTS THE WHOLE ARTICLE
796
00:38:55,043 --> 00:38:57,310
BECAUSE THEY COULDN'T FIND
THEIR OWN SOURCE FOR IT.
797
00:38:57,412 --> 00:39:00,546
YOU -- WRITE THIS UP
IN TOMORROW MORNING'S PAPER.
798
00:39:00,648 --> 00:39:04,016
Shahid: WHEN JOSEPH PULITZER
WAS IN ST. LOUIS,
799
00:39:04,119 --> 00:39:06,753
HE WOULD PLANT FALSE INFORMATION
IN HIS STORIES
800
00:39:06,855 --> 00:39:10,189
JUST TO SEE IF OTHER NEWSPAPERS
WERE STEALING FROM HIM.
801
00:39:10,291 --> 00:39:13,659
AND SO, THAT'S THE SAME TACTIC
THAT WILLIAM RANDOLPH HEARST
802
00:39:13,762 --> 00:39:14,694
DID ON HIM.
803
00:39:14,796 --> 00:39:16,162
Narrator:
HEARST SUSPECTS PULITZER'S STAFF
804
00:39:16,231 --> 00:39:18,998
IS STEALING
HIS PAPER'S STORIES.
805
00:39:19,100 --> 00:39:22,468
TO PROVE IT, HE TAKES A PAGE
OUT OF PULITZER'S BOOK
806
00:39:22,570 --> 00:39:25,471
AND FABRICATES A STORY ABOUT
A PROMINENT COLONEL --
807
00:39:25,573 --> 00:39:28,808
REFLIPE W. THENUZ.
808
00:39:28,910 --> 00:39:32,145
AND THE NEXT DAY, HEARST
ANNOUNCED THAT IT'S AN ANAGRAM
809
00:39:32,247 --> 00:39:37,150
FOR "WE PILFER THE NUZ."
810
00:39:41,356 --> 00:39:43,656
WE'VE RECEIVED SOME BAD NEWS,
MR. PULITZER.
811
00:39:43,758 --> 00:39:44,557
WHAT NOW?
812
00:39:44,659 --> 00:39:46,159
UM, ONE OF
OUR REPORTERS, UH --
813
00:39:46,261 --> 00:39:48,094
STOP STAMMERING!
814
00:39:48,196 --> 00:39:49,662
HE COPIED A STORY
FROM THE JOURNAL,
815
00:39:49,764 --> 00:39:51,164
AND MR. HEARST
PUT IT IN THE PAPER.
816
00:39:51,266 --> 00:39:53,933
DO YOU HAVE THE PAPER?
817
00:39:54,035 --> 00:39:56,068
YES.
818
00:40:01,042 --> 00:40:02,809
THE FACTS!
JUST THE FACTS!
819
00:40:02,911 --> 00:40:05,945
WHAT HAPPENED TO
"JUST THE FACTS?!"
820
00:40:06,047 --> 00:40:10,583
IT REALLY MADE PULITZER
SEEM LIKE HE WAS A THIEF,
821
00:40:10,685 --> 00:40:13,019
THAT, YOU KNOW,
HE REALLY WASN'T GOING OUT,
822
00:40:13,121 --> 00:40:14,520
GETTING STORIES ON HIS OWN,
823
00:40:14,622 --> 00:40:17,123
BUT IT ALSO SHOWED
THAT WILLIAM RANDOLPH HEARST
824
00:40:17,225 --> 00:40:21,494
COULD ONE-UP JOSEPH PULITZER.
825
00:40:24,232 --> 00:40:25,865
Narrator: BY 1898,
826
00:40:25,967 --> 00:40:29,469
THEIR CIRCULATION BATTLE
HAS SPIRALED OUT OF CONTROL.
827
00:40:29,571 --> 00:40:31,537
PUBLIC OPINION HAS SHIFTED,
828
00:40:31,639 --> 00:40:34,340
AND THEY ARE NOW TARGETS
OF RIDICULE.
829
00:40:34,442 --> 00:40:38,077
THE NEW YORK TIMES AND
THE OTHER HIGH-BROW NEWSPAPERS
830
00:40:38,179 --> 00:40:41,481
LOOKED DOWN ON THE WORLD,
LOOKED DOWN ON THE JOURNAL.
831
00:40:41,583 --> 00:40:46,652
THEY VIEWED PULITZER AND HEARST
AS SCALAWAGS.
832
00:40:46,754 --> 00:40:50,056
Shahid: THEY LOST A LOT OF
PRESTIGE AND A LOT OF RESPECT
833
00:40:50,158 --> 00:40:52,525
BECAUSE PEOPLE JUST TIRED OF IT
AFTER A WHILE.
834
00:40:57,165 --> 00:41:00,166
Narrator: WITH THE ADDED COST
OF COVERING A FOREIGN WAR,
835
00:41:00,268 --> 00:41:02,668
BOTH HEARST AND PULITZER
REACH A BREAKING POINT,
836
00:41:02,770 --> 00:41:07,340
AND THE TWO TITANS AGREE TO MEET
FOR THE FIRST TIME EVER.
837
00:41:07,442 --> 00:41:09,275
GOOD TO SEE YOU.
838
00:41:09,377 --> 00:41:12,979
I'M GLAD YOU WERE ABLE
TO MEET WITH ME.
839
00:41:13,081 --> 00:41:14,313
AS FAR AS WE KNOW,
840
00:41:14,415 --> 00:41:17,316
PULITZER AND HEARST MET ONCE
AND ONLY ONCE.
841
00:41:17,418 --> 00:41:19,852
AN INVITATION
FROM WILLIAM RANDOLPH HEARST
842
00:41:19,954 --> 00:41:21,153
IS HARD TO TURN DOWN.
843
00:41:21,256 --> 00:41:25,224
THEY BOTH UNDERSTOOD
THE ECONOMIC DANGER
844
00:41:25,326 --> 00:41:28,194
THAT THE CIRCULATION WAR
THEY WERE WAGING
845
00:41:28,296 --> 00:41:30,863
REPRESENTED TO BOTH ENTERPRISES.
846
00:41:30,965 --> 00:41:33,199
AND WHAT DO YOU PROPOSE?
847
00:41:33,301 --> 00:41:36,536
IT WOULD BE MORE PROFITABLE
FOR US IF WE DIVIDE THE MARKET
848
00:41:36,638 --> 00:41:37,870
RATHER THAN COMPETE.
849
00:41:37,972 --> 00:41:41,274
THE CIRCULATION WAR IS COSTING
US BOTH A GREAT DEAL.
850
00:41:41,376 --> 00:41:44,076
I THINK WE SEE
EYE TO EYE ON THAT.
851
00:41:44,178 --> 00:41:46,012
Narrator:
THEY DISCUSS A PROPOSAL
852
00:41:46,114 --> 00:41:49,081
THAT WOULD HAVE BEEN HERESY
ONLY A FEW YEARS EARLIER.
853
00:41:49,183 --> 00:41:51,183
SO, YOU TAKE
THE 1¢ MARKET.
854
00:41:51,286 --> 00:41:55,888
I RAISE MY PRICE TO 2¢
AND STEER MY PAPER
855
00:41:55,990 --> 00:41:57,423
TO MORE WEIGHTY CONCERNS.
856
00:41:57,525 --> 00:41:58,891
EXACTLY.
857
00:41:58,993 --> 00:42:02,528
THAT WAY, WE'RE NOT COMPETING
FOR THE SAME PIECE OF THE PIE.
858
00:42:02,630 --> 00:42:07,099
SO, THESE TWO MEN CAME TOGETHER
TO CARVE UP THE MONEY
859
00:42:07,201 --> 00:42:10,937
AND TO CARVE UP THE CIRCULATION
TO ENSURE THEIR SURVIVAL.
860
00:42:11,039 --> 00:42:13,806
IT SOUNDS LIKE
A CEASE-FIRE AGREEMENT.
861
00:42:13,908 --> 00:42:17,510
Narrator: IT'S AN ILLEGAL
ANTI-TRUST AGREEMENT --
862
00:42:17,612 --> 00:42:20,012
SOMETHING THEY HAD BOTH
CHAMPIONED AGAINST.
863
00:42:20,114 --> 00:42:21,380
THE JOURNAL AND THE WORLD,
864
00:42:21,482 --> 00:42:23,182
NO LONGER
AT EACH OTHER'S THROATS.
865
00:42:23,284 --> 00:42:25,751
[CHUCKLES] IMAGINE
THE POSSIBILITIES.
866
00:42:25,853 --> 00:42:29,889
Narrator: HEARST AND PULITZER
NEVER OFFICIALLY FINALIZE
867
00:42:29,991 --> 00:42:33,192
AN AGREEMENT, BUT A TRUCE
OF SORTS TAKES PLACE,
868
00:42:33,294 --> 00:42:35,294
AND THEIR CIRCULATION WAR ENDS.
869
00:42:37,799 --> 00:42:42,068
WHEN THE DUST SETTLES AFTER
THE FAMOUS CIRCULATION WARS,
870
00:42:42,170 --> 00:42:44,937
I THINK HEARST COMES OUT
THE WINNER.
871
00:42:45,039 --> 00:42:48,908
HE OUT-PULITZERED PULITZER
AND BEAT HIM AT HIS OWN GAME,
872
00:42:49,010 --> 00:42:51,911
AND HE DID SO EVEN THOUGH
HE WASN'T THE INNOVATOR.
873
00:42:52,013 --> 00:42:53,279
HE WAS THE IMITATOR.
874
00:42:53,381 --> 00:42:57,550
BUT HEARST'S VICTORY
COMES AT A COST.
875
00:42:57,652 --> 00:43:01,120
Campbell:
SOME OF THE MOST IMPORTANT
MYTHS OF THE PROFESSION
876
00:43:01,222 --> 00:43:02,989
ARE ASSOCIATED WITH
WILLIAM RANDOLPH HEARST,
877
00:43:03,091 --> 00:43:04,590
NOTABLY,
"YOU FURNISH THE PICTURES
878
00:43:04,692 --> 00:43:06,058
AND I'LL FURNISH THE WAR."
879
00:43:06,160 --> 00:43:08,728
THIS MAD-MAN PUBLISHER
WHO WAS BRINGING ON A WAR
880
00:43:08,830 --> 00:43:10,630
THAT THE COUNTRY
OTHERWISE WOULDN'T HAVE FOUGHT
881
00:43:10,732 --> 00:43:13,299
IS AN EXAMPLE OF SOME OF
THE NEGATIVE IMPRESSIONS
882
00:43:13,401 --> 00:43:18,070
THAT ARE STILL ATTACHED
TO WILLIAM RANDOLPH HEARST.
883
00:43:23,144 --> 00:43:24,977
Narrator:
PULITZER, ON THE OTHER HAND,
884
00:43:25,079 --> 00:43:29,048
RE-EXAMINES HIS ROLE
IN THE CIRCULATION BATTLE.
885
00:43:29,150 --> 00:43:32,551
HE FELT THAT HE NEEDED
TO LEAVE A LEGACY,
886
00:43:32,654 --> 00:43:34,920
AND HIS LEGACY IS
THE PULITZER PRIZES.
887
00:43:35,023 --> 00:43:36,455
HE GAVE MONEY IN HIS WILL --
888
00:43:36,557 --> 00:43:38,290
HE LEFT IT TO
COLUMBIA UNIVERSITY
889
00:43:38,393 --> 00:43:39,892
TO START THESE PRIZES
AFTER HIM.
890
00:43:39,994 --> 00:43:41,894
SO, IF THERE IS A WINNER
IN THAT RESPECT,
891
00:43:41,996 --> 00:43:45,698
IT'S WHOSE LEGACY IS THE BEST --
IT WOULD BE JOSEPH PULITZER.
892
00:43:45,800 --> 00:43:51,470
ULTIMATELY, JOSEPH PULITZER
AND WILLIAM RANDOLPH HEARST
893
00:43:51,572 --> 00:43:55,808
CHANGE PUBLISHING FOREVER
AND LAY THE FOUNDATION
894
00:43:55,910 --> 00:43:58,678
FOR THE FUTURE
OF ALL MASS MEDIA.
895
00:43:58,780 --> 00:44:01,881
Morris:
THE IDEA OF CONSUMING NEWS,
896
00:44:01,983 --> 00:44:03,549
LOOKING TO NEWS
FOR ENTERTAINMENT,
897
00:44:03,651 --> 00:44:05,518
NEWS AS A CENTRAL PART
OF OUR CULTURE
898
00:44:05,620 --> 00:44:08,654
ARE LEGACIES OF WHAT
THESE TWO MEN DID.
899
00:44:08,756 --> 00:44:11,724
Feldstein: THEY BUILT US
THE MASS CULTURE,
900
00:44:11,826 --> 00:44:14,427
THE MASS MEDIA,
THE POPULAR CULTURE,
901
00:44:14,529 --> 00:44:17,697
THE SUSTAINED WATCHDOG
JOURNALISM.
902
00:44:17,799 --> 00:44:20,399
AND IN THE PROCESS,
THEY TRANSFORMED THAT INDUSTRY,
903
00:44:20,501 --> 00:44:23,335
THEY TRANSFORMED POLITICS,
IN MANY WAYS,
904
00:44:23,404 --> 00:44:26,639
AND THEY TRANSFORMED
AMERICAN LIFE.
905
00:44:26,741 --> 00:44:28,340
¶¶