“Mr. Crane’s Vivid Story” (scenes 1 – 10, outside Santiago, Cuba June 1898)

“Mr. Crane’s Vivid Story” (scenes 1 – 10, outside Santiago, Cuba June 1898)

SEE ENTIRE SCREENPLAY “Mr. Crane’s Vivid Story:” New and Improved


USS Maine Tablet (1912) old Rochester, NY city hall. Fitzhugh Street

Scene 1: Havana, February 1898


from 1896 film, Boxing match or Glove Contest

Scene 2: Pawtucket, Rhode Island, February 1898


The Roosevelt Room in the White House

Scene 3: Washington, February 1898



Buffalo Soldiers in Montana, 1896

Scene 4: Montana, February 1898

Scene 5: New York, February 1898220px-StephenCraneandCora1899

Scene 6: The Cuban Countryside, February 1898



1893 edition



Scene 7: Havana, May 1898

Scene 8: Havana, May 1898

crank 2Scene 9, Siboney, Cuba June 1898

Scene 11negro troops

Mr. Crane’s Vivid Story”


Stephen Crane, Greco-Turkish War, Greece, 1897

Scene Ten: outside Santiago, Cuba June 1898

The Spanish-American War

When the American Congress declared war on Spain on April 25, 1898, there were two main enemy forces to be met. In the Philippines, a native rebellion was going, but the Spanish squadron there remained a threat. On May 1, the United States Asiatic Squadron under Commodore George Dewey found and destroyed it in Manila Bay. In Cuba, there was a Spanish army as well as a fleet. The American Asiatic Fleet blockaded the Spanish ships in Santiago Harbor.  To deal with the land forces, America had a regular army of 30,000 men, and President McKinley called for 200,000 volunteers to bolster its efforts. Scene 3: Washington, February 1898

United States regulars and volunteers assembled near Tampa, Florida, and on May 30th, their general, 300-pound William Shafter, received orders to take a force of 25,000 to Santiago and support the blockade. Transports could be found for only 17,000, but off they went to make a clumsy landing on June 22, which the Spaniards could have cut to bits had they opposed it. Scene 9, Siboney, Cuba June 1898 The army marched inland.  After skirmishes at Las Guaimas and El Caney, the troops headed for Santiago.   — from American Heritage Illustrated (Volume 12, A World Power, 1963)

see also On Spanish-American War Monuments and Rochester. And remembering the Buffalo Soldiers on Veteran’s Day


march to santiago

(above) Charles Johnson Post’ 71st New York being observed by publisher-correspondent William Randolph Hearst (below) rapid-firing Gattling guns being hauled to Santiago [Paintings by Post]

Caney 2

The last stand of the Spanish at the western entrance to El Caney by William Howard Christy [from Frank Freidel’s Splendid Little War, 1958)

caney 1

Following the battles at Las Guaimas and El Caney, the American army is a camped in the hills below Santiago preparing to storm the San Juan Heights.

Roosevelt is his command tent talking with journalists/novelists Richard Harding Davis and Frank Norris. Crane enters.

[For the full story of Davis, Norris and Crane during the Cuban Campaign see “The Spanish-American War as a Bourgeois Testing Ground: Richard Harding Davis, Frank Norris and Stephen Crane”War, Literature and the Arts ]

Crane enters the tent. Waiting for a moment for the conversation to end.

Davis: Hello, it’s Mr. Stephen Crane.  Where’s your wig-wagging kit, old sport. Left in your love nest in Bermuda?


Crane (center), the catcher for the Syracuse University baseball team (1891)

evangelina-cosío-cisneros%202Norris: No doubt those sticks came in handy when trying to corral that hot blooded Cuba girl. Let me guess, she ran you off the field like back in Syracuse, the college boy with his tail between his legs!

[see  Scene 7,  8 and  9 ]

(Crane rolls his eyes)

Crane: I’ve come to interview Colonel Roosevelt.

Roosevelt: Fire way.


The Americans suffered heavy casualties; enemy fire concentrated on the struggling column of soldiers when someone made the blunder of sending up an observation balloon. It disclosed the exact position of Shafter’s troops. [Painting by Post]

Crane: Now about that balloon . . .

Roosevelt:  Damn it. Enough with that goddamned balloon. The press is blowing it all out of proportion. Anyway we are done with the damn nuisance.

Crane: Done with it! It was a positive stroke of airborne genius. Colonel, I’ve come to ask if I may fly in it tomorrow for a better view of the battle. I’ve been told Mr. Stephen Crane is full of hot gas so I thought I’d be in good company.

(Norris and Davis laugh).

Roosevelt: Only if you take those Vitagraph asses with you. No, Crane, you may not. I might need your thick head for something else.

Crane: Now about Shafter’s cart . . .

Roosevelt: You damn infuriating idiot. Yes, the answer is that General Shafter actually weighs 500 pounds and that cart was specially made by Henry Ford himself.

shafter on cart

300-pound General William Shafter riding in a one horse buggy [Painting by Charles Johnson Post]

Crane:  As for that cart, another favor.  Might I ride in it tomorrow? You know I like to experience things first hand. Like when I dressed as a tramp and smoked hashish for those Bowery sketches.

Roosevelt: Or visited a “lady of the evening” for another.”(Crane winces) Yes, by all means. Be there at revile and I’ll see to it that Shafter himself pulls the cart! Crane, if you weren’t such a damned good writer, I’d have you court martialed.

(Davis and Norris laugh)

Crane to Norris: Frank, how are you making out? Found any good material.

Norris: Actually I have. Yesterday, Roosevelt’s men shot a Spaniard hiding in a tree top. When the bastard fell dead to the ground hard, out of his eye socket popped a glass eye which I recovered.

(Norris takes the glass eyeball from his tosses it to Crane)

Crane: (snatching it from the air) Ever yet the catcher for the Syracuse Nine!

Norris: I think I will use it as metaphor in my account for Hearst. The half-blind, tottering Bourbon empire knocked down by an American Paul Bunyan in army khakis.

(The men nod approvingly)

Crane: But seriously Colonel, your men did a fine job at Las Guasimas. Got a little tight with that ambush. Hell, I even noticed those colored boys of the 24th held there own. Maybe more than held there own.

Davis: Rest assured that was the work of their white officers.

[see Scene 4 ]

Roosevelt: Those Buffalo Soldiers fought like demons. After Sitting Bull, Crazy Horse and the Apaches, those Spaniards were like a Sunday afternoon playing croquet for those boys. But, Dick, you are right on one point. They are peculiarly dependent on their white officers.

[Roosevelt would use the phrase “peculiarly dependent” in The Rough Riders (1899)]


As Davis and Norris talk, Roosevelt takes Crane aside.

Roosevelt: Listen, Stephen, there’s something I wanted to ask you.

Crane: Fire away.

Roosevelt: You know those Vitagraph fools.  Well, I’ve let them shoot us in action. But they are bunch of bumbling amateurs. They are such damn cowards all they do is stay in the rear with their damn machine filming the men from behind.

Crane: (laughing) Sounds like they’ve got it ass backwards!

Roosevelt: Plus they have absolutely no artistic sense. I am sure you can imagine. I’d like to ask you to take charge of the Vitagraph crew. What do you say, will you?

Crane: Hmm, after what I heard you just say, its hard for me to imagine. Didn’t you just tell Davis and Norris, on the record: “I did not see any sign among the fighting men, whether wounded or unwounded, of the very complicated emotions assigned to their kind by some of the realistic modern novelists who have written about battles.” I assume you were referring to me and Red Badge.

[Roosevelt made the comment in The Rough Riders (1899)]

Roosevelt: Crane, that’s what a commander has to say, to keep up the men’s morale. You know how much I admire Red Badge and everything else.


Roosevelt and Davis in Cuba. Davis considered the model for illustrator Charles Dana Gibson’s dashing Gibson man, the male equivalent of his famous Gibson Girl

Crane: Why not ask Davis?

Roosevelt: Dick’s a good man and a talented writer. But he’s too mainline Philadelphia, too much the “Gibson Boy.” Too “bourgeoise” as your crowd would say.  [see “Infirm Soldiers in the Cuban War of Theodore Roosevelt and Richard Harding Davis” (War, Literature and the Arts)]


Following the Cuban Campaign, Davis would write, “On the Fever Ship,” perhaps his most experimental and psychologically troubling short story. The story is a thinly veiled depiction on a Lieutenant suffering from “shell shock” — the phenomenon that would become widespread 20 years later during WWI

Crane: I think Dick might surprise you by what he writes about our Splendid Little War. But, yes, I know what you mean. Why not Norris?

Roosevelt: Frank is a very gifted writer but needs some literary seasoning. I sense his best work is still ahead of him.


Norris would write the quasi-fictional, “Comida: An Experience in Famine” that featured a Red Cross Doctor who nightly took out and polished his glass eye around a campfire of startled journalists. Norris’s most famous naturalist novel was McTeague: A Story of San Francisco (1899)

Crane: I’ll bet he’ll do something grand with the Spaniard’s eyeball. But I see what you mean about his best work ahead. Though soon enough he’ll be the American Zola [the French naturalist author].

[see The Spanish-American War as a Bourgois Testing Ground: Richard Harding Davis, Frank Norris and Stephen Crane

But what do I know about moving pictures? I am a writer. Mr. Crane’s vivid stories. This might be more than I can handle.

Roosevelt: More than you can handle!  Crane the uncategorizable Crane. Is he a realistic, an impressionist, a naturalist, a modernist or something entirely different?

Stevie, can’t you see that film is going to be the medium of the twentieth century? Can’t you see how it will be reaching millions. The millions who don’t read novels.  Haven’t you been fretting about what to do after Red Badge? This is it.

crank 2Crane: Teddy, you are a persuasive man. I can see the Republicans running you in ’00 if McKinley steps away. You know, you are onto something.  Film is a medium without words. Pure sight. It’s pure action. The pure collision of atoms. Chaos.

But let me guess, this movie will be all about you, all about Teddy Roosevelt sinking Cerveza’s fleet with his bare hands.

Roosevelt: Yes, it will be about me. But it will really be about you.

Crane: Me?

Roosevelt: Yes, you. It will be about you making the first American movie. Mr. Stephen Crane, the first American film maker.

(Crane smiles)


The Panama Canal. Here Culebra (now called Gaillard) Cut crosses the Continental Divide [American Heritage Illustrated]

Crane: But Teddy, why are you so hell bent on this movie?

Roosevelt: I know you don’t follow politics, but listen up.

Crane: (softly to himself) So I’ve been told. [see Scene 7: Havana ]

Roosevelt: Our little Cuban hunting trip is not just a lark.  It the start of what’s going to be the American Century. Cuba is just the beginning. South America might be next. With Dewey destroying the Spanish fleet in Manila, we’ve got the Philippines. China is not too far away.


Otis’ gravesite in Mt. Hope Cemetery

[for more on the Philippines see General Elwell Otis, Rochester’s imperial war hero ]

In 1900, a group of Chinese began the Boxer Rebellion–an attempt to foreigners out of China–and an international force, including 5,000 American troops, was sent to put it down [American Heritage Illustrated]

Crane: So we won’t be giving Cuba its independence anytime soon I guess?

Roosevelt: (nodding) Crane that’s just the way destiny is working. Whether its right or wrong, only God knows.  The white man gave the red man the short stick to be sure. But that’s how it went. And for the colored man, its not yet his time.  It was a black man, W.E.B. DuBois who said, “the problem of the twentieth century will the problem of the color-line.” And DuBois couldn’t be more right. But its the white man who will come out on top. And America on top of all.

[Du Bois engaged the questions of race, racial domination and racial exploitation with the well-known proposition that “the problem of the twentieth century is the problem of the color-line.” Although this proposition gains prominence in the forethought of the Souls of Black Folk (1903), Du Bois had already introduced the concept in a lecture at the third annual meeting of the American Negro Academy in 1900 titled “The Present Outlook for the Dark Races of Mankind.”]

Crane: But is Cuba just leftover table scraps. Haven’t the European powers pretty much gobbled up all the beach front property?white fleet

Roosevelt: Crane, here’s what I see. Europe has had peace since the Franco-Prussian War. It can’t last. In fifteen years, mark my words, Europe will be at each other’s throats. And once it gets going, it’ll be murder. See those Gattling guns we brought. They can kill a whole platoon of Spaniards without missing a beat. And that’s just the beginning.

Crane: Fifteen years. I’ll be dead by then. (coughs) No doubt you’ll bring back the Rough Riders and plant the American flag on the Eifel Tower.

Sounds like you’ve got it all figured out.

Roosevelt: Not everything Crane. What the hell should be the title of our moving picture!

Crane: (musing) Ok, I’m in. ‘Night Colonel.

Roosevelt salutes.

American troops preparing for the charge up the San Juan Heights outside Santiago


Painting by Charles Johnson Post


“Mr. Crane’s Vivid Story:” New and Improved

About The Author


Welcome to Talker of the Town! My name is David Kramer. I have a Ph.D in English and teach at Keuka College. I am a former and still active Fellow at the Nazareth College Center for Public History and a Storyteller in Residence at the SmallMatters Institute. Over the years, I have taught at Monroe Community College, the Rochester Institute of Technology and St. John Fisher College. I have published numerous Guest Essays, Letters, Book Reviews and Opinion pieces in The New York Times, Rochester Democrat and Chronicle, the Buffalo News, the Rochester Patriot, the Providence Journal, the Providence Business News, the Brown Alumni Magazine, the New London Day, the Boston Herald, the Messenger Post Newspapers, the Wedge, the Empty Closet, the CITY, Lake Affect Magazine and Brighton Connections. My poetry appears in The Criterion: An International Journal in English and Rundenalia and my academic writing in War, Literature and the Arts and Twentieth Century Literary Criticism. Starting in February 2013, I wrote for three Democratic and Chronicle  blogs, "Make City Schools Better," "Unite Rochester," and the "Editorial Board." When my tenure at the D & C  ended, I wanted to continue conversations first begun there. And start new ones.  So we created this new space, Talker of the Town, where all are invited to join. I don’t like to say these posts are “mine.” Very few of them are the sole product of my sometimes overheated imagination. Instead, I call them partnerships and collaborations. Or as they say in education, “peer group work.” Talker of the Town might better be Talkers of the Town. The blog won’t thrive without your leads, text, pictures, ideas, facebook shares, tweets, comments and criticisms.


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