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^ J1O1¬^P1 ¹O1I1¬. ^ ¬1P¹11 111^N.













Originally Written by:
Bob Tzudiker & Noni White

Rewrites by:
David Fallon and Tom Rickman

Song Score by:
Jack Feldman and Alan Menken

Stage Adaptation and Score by:
Philip McBride
3
Music and Lyrics Copyright © 1992 Wonderland Music Co., Inc.
International Copyright Secured
ALL RIGHTS RESERVED


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Professionals and amateurs are hereby advised that this material is fully protected by
copyright in the United States of America, the British Commonwealth (including
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of any kind or nature by professionals or amateurs, recitation, lecturing, public
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entitling the copyright owners to injunctive and other relief to the full extent of the
law.
4
NEWSIES
Cast of Characters

The Newsies
Jack Kelly
David Jacobs
Les Jacobs
Racetrack
Crutchy
Boots
Mush
Kid Blink
Spot Conlon
Snitch
Jake
Itey
Snipeshooter
Specs
Dutchy
Snoddy
Skittery
Bumlets
Pie Eater
Swifty
Kuehn
Brooklyn Newsies

The Friends of the Newsies
Jacob Denton
Medda Larkson
Sarah Jacobs
Mayer Jacobs
Esther Jacobs
Kloppman
Nuns
Patrick's Mother
Fat Max Cohen
Teddy Roosevelt

The Opposing Forces
Joseph Pulitzer
Weasel
Snyder
Seitz
Morris Delancy
Oscar Delancy
Jonathan
Judge Crane
Mayor Van Wyck
Chief of Police Devery
Captain McSwain
Bailiff
Bunsen
Gammon
Policeman
World Employee

Chorus
Shoe-Shiner
Family
Noisemakers
Two Lovers
Customers
Women with Funny Hats
Seven Blind People
Sleeping Man
Jugglers
Announcer
Street People
Cops
Neighborhood Children
Spike
Boy with Banjo
Vendors
Workers
Drivers
Man
Inmate
Scabs
Waiter
Restaurant Owner

The Kid
Weasel’s Thug Army
Medda’s Maid
Medda’s Bodyguard
Bailiff
Pulitzer’s Butler
Lady
Work Kids
Sweatshop Kids
Women’s Groups
Neighbors
Messenger
5
NEWSIES
Scene by Scene
Song by Song

ACT ONE
Prologue A
Prologue B
Scene One The Newsies Lodging House/
The Street Carrying the Banner
Scene Two The Courtyard/The Street
Scene Three Pulitzer’s Office
Scene Four The Street/The Chase
Scene Five The Street
Scene Six Irving Hall/ My Lovey Dovey Baby
The Street
Scene Seven David’s Apartment
Scene Eight The Fire Escape/ Santa Fe
The Street
Scene Nine Pulitzer’s Office
Scene Ten The Courtyard The World Will Know
Scene Eleven Tibby’s Restaurant
Scene Twelve Brooklyn
Scene Thirteen The Street Seize the Day
Scene Fourteen David’s Apartment Proud of Your Boy
Scene Fifteen The Refuge
Scene Sixteen Newsies Square
Scene Seventeen Pulitzer’s Office
Scene Eighteen The Street Seize the Day (Reprise)
6
NEWSIES
Scene by Scene
Song by Song

ACT TWO
Scene One Tibby’s Restaurant King of New York
Scene Two The Refuge (Snyder’s Office)
Scene Three The Lodging House
Scene Four The Street
Scene Five David’s Apartment
Scene Six Pulitzer’s Office
Scene Seven Irving Hall (The Rally) High Times, Hard Times
Scene Eight The Courtroom
Scene Nine Tibby’s Restaurant
Scene Ten Pulitzer’s Mansion
Scene Eleven The Alley/The Refuge Santa Fe (Reprise)
Scene Twelve The Courtyard
Scene Thirteen David’s Apartment
Scene Fourteen World’s Basement
Scene Fifteen The Courtyard
Scene Sixteen The Street/The Alley
Scene Seventeen Denton’s Apartment
Scene Eighteen World’s Basement/The Street Once and For All
Scene Nineteen The Courtyard/Pulitzer’s Office World Will Know (Reprise)
Carryin’ the Banner (Reprise)
7
NEWSIES
ACT ONE

(As the audience enters, they see a huge curtain that looks like a giant newspaper. Various headlines and
articles cover the curtain. The curtain is actually a scrim with images of newspapers projected on it.)

Prologue A

(A single light shines down on RACETRACK who is standing DR in front of the scrim. During RACETRACK’S
speech, a few lights come up behind the scrim. We can see a few NEWSIES miming the action of selling papers.
The action should be done in slow motion so it will not be distracting to the audience.)

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

8
Prologue B

(A single light shines down on JACOB DENTON who stands DL. HE’S a sharp dresser with an equally sharp
sense of opportunity.)

DENTON
Jacob Denton, New York Sun. Photojournalist. I have taken it upon myself to write stories and photograph the world
of the underprivileged, and have chosen to do my story on the Newsies.
(Suddenly, there's a blinding flash from DENTON’S camera. At the same time, bright white lights come up
behind the scrim. The lights should be as far back as possible as to not light any of the NEWSIES from the front.
A silhouette is created and shows the NEWSIES frozen in a set pose. The lights slowly fade to black. ALL exit
and take their respective places for Scene One.)

9
Scene One

(The curtain opens to reveal the interior of the Newsies lodging house. We hear snoring, coughing, whistling,
etc. Many NEWSIES are sleeping in canvas hammocks, stretched between wooden beams. THEY are the
NEWSIES, rocking in THEIR hammocks, dreaming of being in better places. From the innocent looks on
THEIR faces, you'd hardly know THEY are the orphans of the city. This is the lodging house for newsboys.
KLOPPMAN, the owner, enters the bunkroom, finding the BOYS still in bed.)

KLOPPMAN
Boots!
(BOOTS awakens startled)
Skittery! Skittery! Skittery!

SKITTERY
(still half asleep)
What? I didn’t do it!

KLOPPMAN
(joking with HIM)
What do you mean you didn't do it? Will you get up? When you get up, it's time to get up!
(walks over to SNITCH)
Snitch! Get up! Get up! Everybody's sleeping.
(continues walking around and nudging the sleeping NEWSIES.)
They sleep their lives away these kids! The presses are rolling! Sell the papers, sell the papers!
(HE is now at JACK’S hammock)
Come on, come on. You dreaming of selling papers?

JACK
(groaning.)
Mmmm.
(angry for having being awakened.)
What’s the matter with you?

KLOPPMAN
(nudging HIM)
What’s the matter with me?

JACK
(shoving HIM away)
What’s the matter with you? I wanna…go…back…to…


KLOPPMAN
Come on!
(gives HIM a shove.)

JACK
(rolling over.)
Get away from me, you’re mad!

KLOPPMAN
(continuing to bother HIM)
10
Ha! Ha! Get up, boy. Come on.
(JACK forces HIMSELF out of bed)
All right!
(beginning to exit)
Carry the banner! Sell the papers!
(HE exits.

By now, all the NEWSIES are awake and getting ready for the day doing various morning duties. The NEWSIES
are getting dressed; boots being laced up, mittens being put on, shirts and vests being pulled over NEWSIE
heads, a NEWSIE shaving. All action is choreographed. This opening sequence will be break-into-song musical,
choreographed, semi-realistic. The intent of the sequence is to establish the world of the NEWSIES through our
main character JACK, and introduce us to the NEWSIES themselves. The sequence will take place in a series of
scenes, bursting from real action to choreographed movement. We will meet most of the members of the
NEWSIES in this scene. The main NEWSIES are: RACETRACK, 18, tall, skinny, gambling Italian beanpole.
BOOTS, 15, black. CRUTCHY, 14, Irish, red-headed missing teeth. MUSH, 11, cross-eyed, small, skinny, and
with a dirty face. KID BLINK, CHARLIE, etc. RACETRACK looks around for HIS cigar, noticing that
SNIPESHOOTER has it.)

RACETRACK
THAT’S MY CIGAR!

SNIPESHOOTER
YOU’LL STEAL ANOTHER!

KID BLINK
(walking past)
HEY BUMMERS, WE GOT WORK TO DO!

KID
(mocking HIM)
SINCE WHEN DID YOU BECOME ME MOTHER?
CRUTCHY
(looks up from a wash basin)
AW, STOP YOUR BAWLING!

NEWSIES
(throwing various items at HIM)
HEY! WHO ASKED YOU?

MUSH
(to JACK)
So how’d you sleep, Jack?

JACK
On my back, Mush.

MUSH
(HE laughs and tries to retell the joke to the other NEWSIES)
Ha! Ha! You hear that, fellas? Hear what Jack said? I asked Jack how he slept and he said ‘On my back, Mush.’
Carrying the Banner
11
(MUSH and JACK separate. JACK heads over to the washbasin and takes a place next to CRUTCHY.)

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

JACK
No, who says you’re faking it?

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

MUSH
(passing RACETRACK)
TRY BOTTLE ALLEY OR THE HARBOR.

RACETRACK
(passing JACK)
TRY CENTRAL PARK, IT’S GAURANTEED.

JACK
(passing SKITTERY)
TRY ANY BAKER, BUM OR BARBER.

SKITTERY
(passing KID BLINK)
THEY ALMOST ALL KNOWS HOW TO READ.

KID BLINK
(passing CRUTCHY, who is still sitting at the washbasin)
I SMELL MONEY!

CRUTHCY
(looking up from the wash basin)
YOU SMELL FOUL!

MUSH
(reaching in front of CRUTCHY for soap)
MET THIS GIRL LAST NIGHT…

CRUTCHY
(to MUSH)
MOVE YOUR ELBOW!

RACETRACK
(face covered in soap)
PASS THE TOWEL!

SKITTERY
(jumping up on a chair with a towel in hand)
FOR A BUCK I MIGHT!

12
NEWSIES
(At this point, the NEWSIES all do a simple dance that will be the basis for the rest of the song.)
AIN'T IT A FINE LIFE
CARRYING THE BANNER THROUGH IT ALL?
A MIGHTY FINE LIFE
CARRYING THE BANNER TOUGH AND TALL
EVERY MORNING, WE GOES WHERE WE WISHES
WE'S AS FREE AS FISHES
SURE BEATS WASHIN' DISHES
WHAT A FINE LIFE
CARRYIN’ THE BANNER HOME-FREE ALL!
(the NEWSIES leave the lodging house and head toward Newsies Square. A curtain closes to cover the lodging
house set while the NEWSIES continue in the next setting. They are now on the streets of New York heading off
to work. Various accouterments of city life are already happening in the street: A shoeshine, a family on a walk,
etc.)

JACK
IT TAKES A SMILE AS SWEET AS BUTTER

CRUTCHY
THE KIND THAT LADIES CAN’T RESIST

RACETRACK
IT TAKES AN ORPHAN WITH A STUTTER

JACK
THAT AIN’T AFRAID TO USE HIS…

KID BLINK
FIST!

NEWSIES
SUMMER STINKS AND WINTER'S WAITING
WELCOME TO NEW YORK
BOY, AIN'T NATURE FASCINATING
WHEN YOU'S GOTTA WALK?

GROUP ONE GROUP TWO (echoing)
STILL, IT'S A FINE LIFE IT’S A FINE LIFE
CARRYING THE BANNER WITH CARRYING THE BANNER WITH MY CHUMS
MY CHUMS
A MIGHTY FINE LIFE A MIGHTY FINE LIFE
BLOWING EVERY NICKEL BLOWING EVERY NICKEL
AS IT COMES. AS IT COMES.

CRUTCHY
(stepping forward)
I’M NO SNOOZER!
SITTIN’ MAKES ME ANCY
I LIKES LIVIN’ CHANCEY

NEWSIES
13
HARLEM TO DELANCEY
WHAT A FINE LIFE
CARRYIN’ THE BANNER THROUGH THE SLUMS.

(Through the course of the previous section, a trio of NUNS has set up an area for service to the needy behind
THEM. The NEWSIES part to reveal the NUNS as THEY sing…)

NUNS
BLESSED CHILDREN THOUGH YOU WONDER LOST AND DEPRAVED
JESUS LOVES YOU, YOU SHALL BE SAVED!

(PATRICK’S MOTHER makes HER way through the NEWSIES looking for HER son. As SHE passes each
NEWSIE, SHE realizes how much SHE truly misses HER son. The NUNS pass out food to the NEWSIS. The
following parts are sung in counterpoint.)

PATRICK’S MOTHER RACETRACK
PATRICK, JUST GIVE ME HALF A CUP. KID BLINK
DARLING MUSH SOMETHING TO
SINCE YOU LEFT ME, I GOTTA FIND AN ANGLE WAKE ME UP CRUTCHY
I AM UNDONE GROUP ONE GROUP TWO I GOTTA SELL MORE
MOTHER LOVES YOU PAPER IS ALL I GOT WISH I COULD CATCH PAPES.
GOD SAVE MY SON! A BREEZE
SURE HOPE THE ALL I CAN CATCH IS
HEADLINE’S HOT FLEAS
GOD HELP ME IF IT’S SOMEBODY HELP ME,
NOT PLEASE.

(PATRICK’S MOTHER exits crying as the NUNS exit in a mission to find another place to serve the needy. The
curtain closes. The NEWSIES continue.)

NEWSIES
IF I HATE THE HEADLINE, I'LL MAKE UP THE HEADLINE
AND I'LL SAY ANYTHING I HAFTA
'CAUSE IT'S TWO FOR A PENNY, IF I TAKE TOO MANY
WEASEL JUST MAKES ME EAT THEM AFTER.

(Sung in counterpoint)
GROUP ONE GROUP TWO
LOOK! THEY'RE PUTTING UP THE HEADLINE WHAT'S IT SAY?
THEY CALL THAT A HEADLINE? THAT WON'T PAY!
I GET BETTER STORIES FROM THE COPPER SO WHERE'S YOUR
ON THE BEAT SPOT?
I WAS GONNA START WITH TWENTY BUT A GOD, IT'S HOT!
DOZEN'LL BE PLENTY
TELL ME HOW I’M GONNA MAKE ENDS MEAT! WILL YA TELL ME HOW
I’M GONNA MAKE ENDS MEAT!

NEWSIES
WE NEED A GOOD ASSASSINATION!
WE NEED AN EARTHQUAKE OR A WAR!

SNIPESHOOTER
(steps out)
HOW ‘BOUT A CROOKED POLITITION?

14
NEWSIES
(The NEWSIES throw stuff at SNIPESHOOTER.)
HEY STUPID, THAT AIN’T NEWS NO MORE!

UPTOWN TO GRAND CENTRAL STATION
DOWN TO CITY HALL
WE IMPROVES OUR CIRCULATION
WALKIN’ TILL WE FALL.
(the following parts are sung in counterpoint)

GROUP ONE GROUP TWO
STILL WE'LL BE LOOK, THEY'RE
OUT THERE PUTTING UP THE
HEADLINE
CARRYING THE THAT
BANNER MAN TO A HEADLINE?
MAN! THE IDIOT WHO WROTE
IT MUST BE WORKING
FOR THE SUN GROUP THREE
YES, WE'LL BE OUT DID YOU HEAR ABOUT HEARD IT KILLED OLD
THERE THE FIRE? MAN MAGUIRE.
SOAKING EVERY HEARD THE TOLL WAS
SUCKER THAT WE EVEN HIGHER. WHY DO I MISS ALL THE
CAN! FUN?
SEE THE HEADLINE HITCHED IT ON A
NEWSIES ON A MISSION TROLLEY. MEET YOU FOURTY-
KILL THE COMPETITION LITTLE ITALY’S A FOURTH AND SECOND
SELL THE NEXT SECRET. BLEECKER’S FURTHER
EDITION THAN I RECONED
WHILE WE'RE OUT AT THE COURTHOUSE.
THERE NEAR THE STABLES
CARRRYIN’ THE ON THE CORNER
BANNER IS THE… SOMEONE BECKONED
AND I…

(The NEWSIES arrive en masse at Newsies square, home of Newspaper Row and the World headquarters. The
NEWSIES wait for the World gates to open so that THEY can get THEIR papers to sell. Across the street is a
statue of Horace Greeley sitting in a chair. Above Newspaper Row are two huge blackboards. We see TWO
MEN writing the day's headlines in chalk. PEOPLE stand below reading the boards and waiting for the papers.
The DELANCY BROTHERS arrive in the square and spot JACK. By the looks in THEIR faces, we see instantly
that JACK and the DELANCY’S are archrivals. The DELANCY’S are goons hired by the World to keep the
NEWSIES in line. The DELANCY’S make life for the NEWSIES miserable.)

RACETRACK
(obviously making fun of the DELANCY BROTHERS)
Dear me! What is that unpleasant aroma?
(SNIPESHOOTER smells HIS armpit)
I fear the sewer may have backed up during the night.

BOOTS
(egging HIM on)
Nah…Too rotten to be the sewers.
15

CRUTCHY
It must be the Delancy Brothers!
(the NEWSIES all laugh and poke fun as the BROTHERS walk by)

RACETRACK
Hiya, boys!
(SNIPESHOOTER steps up to THEM)

OSCAR
(to SNIPESHOOTER)
In the back, you lousy shrimp.
(the DELANCY BROTHERS cuff SNIPESHOOTER and push HIM toward the back. JACK sees this and HE
moves toward THEM. JACK takes SNIPESHOOTER’S hand, helps HIM to HIS feet and walks HIM back to the
front. JACK, boldly ignoring the DELANCY’S, puts SNIPSHOOTER in HIS place. The BROTHERS watch
turning red - slow boil. JACK turns and faces THEM.)

RACETRACK
It’s not good to do that. Not healthy.

JACK
(HE approaches OSCAR)
You shouldn’t call people lousy little shrimps, Oscar, unless you’re referring to the family resemblance in your brother
here.

RACETRACK
(the NEWSIES see the confrontation brewing. There is excitement in the air. RACETRACK turns to the
NEWSIES around HIM; HE takes off HIS hat to start a gamble)
Five to one says that Cowboy skunks them. Who’s betting?

JACK
That’s right. It’s an insult. So’s this...
(JACK knocks MORRIS' hat off HIS head. The DELANCY’S chase JACK around the Square to the thrill of the
NEWSIES - a morning tradition. On the DR side of the stage, a porch unit comes on. We see a loving MOTHER
on the porch with HER TWO SONS saying goodbye for the morning. The older son DAVID, DAVID JACOBS,
15, with dark intense eyes. HE’S a keen observer, a bit wary of the world. HIS kid brother, LES, 10, has an
innocent enthusiasm. DAVID and LES put THEIR caps on and say goodbye to THEIR mother ESTHER, 38, a
fading Polish beauty, who kisses HER sons goodbye and sees THEM off. The BOYS exit as the porch unit is
pulled off. DAVID and LES arrive UR into the street scene. Out of nowhere, JACK tears out from behind the
Horace Greeley statue, nearly crashing into DAVID and LES)

DAVID
Hey, watch it! What are you doing?

JACK
Running!

(JACK turns and smiles at DAVID, catching LES' eye. The pursuing DELANCY’S can't stop in time and crash
into DAVID and LES, sending THEM sprawling. The CROWD stops breathing as, before the World gates, the
DELANCY’S grab JACK and lift HIM high into the air, about to smash HIM into the cobblestones.

The following action takes place throughout the rest of the number:
16
JACK grabs the bars of the gate and, like a monkey, jerks free of the DELANCY’S grasp. The NEWSIES howl,
loving the show as JACK avoids the BROTHERS, moving from bar to bar. DAVID and LES watch amazed,
fascinated with JACK’S antics. At the gate, JACK taunts the BROTHERS, savoring the moment, high above the
CROWD.)

17
(sung in counterpoint)
GROUP ONE GROUP TWO
IT'S A FINE LIFE WOULD YOU LOOK AT THE
HEADLINE
CARRYING THE BANNER THROUGH YOU CALL THAT A HEADLINE?
IT ALL I GET BETTER STORIES FROM
THE COPPER ON THE BEAT
A MIGHTY FINE LIFE I WAS GONNA START WITH
CARRYING THE BANNER TOUGH TWENTY BUT A
AND TALL DOZEN'LL BE PLENTY
WOULD YOU TELL ME HOW'M I
EVER GONNA MAKE ENDS MEET
SEE THE HEADLINE HITCHED IT ON A TROLLY
NEWSIES ON A MISSION MEETCHA FORTY-FOURTH
AND SECOND
KILL THE COMPETITION LITTLE ITALY'S A SECRET
SELL THE NEXT EDITION BLEECKER'S FURTHER THAN I
RECKONED
WHAT A FINE LIFE BY THE COURTHOUSE, NEAR
THE STABLES
CARRYING THE BANNER! ON THE CORNER SOMEONE
BECKONED!
IT’S A FINE LIFE GO GET 'EM COWBOY!
CARRYING THE BANNER
IT’S A FINE LIFE YOU’VE GOT ‘EM COWBOY!
CARRYING THE BANNER
IT’S A FINE LIFE GO GET 'EM COWBOY!
CARRYING THE BANNER
IT’S A FINE LIFE YOU’VE GOT ‘EM COWBOY!
CARRYING THE BANNER

NEWSIES
GO!

(During the previous section, a set piece that looks somewhat like a bank teller’s window has been brought on
DL. A WORLD EMPLOYEE enters on one of the last few lines of the song carrying a huge stack of papers.)

WORLD EMPLOYEE
These are for the Newsies!
(HE slams the papers on the counter, which signals the final chord of the song. The opening production number
ends and the moment is broken when a bell inside the World Building rings out. The huge gates begin to slide
open and JACK hangs on. OTHERS yell out HIS name as HE rides them until the last possible moment, then
leaps into the back of a wagon. Segue to next scene during the following dialogue.)

RACETRACK
Brilliant. Better than yesterday.

JACK
(standing up in the wagon)
You are too kind to me, Race. You’re too kind.

MORRIS
18
See you tomorrow, Cowboy.

OSCAR
You’re as good as dead, Cowboy!
19
Scene Two

(The following action occurs during the previous dialogue:

DAVID and LES enter the courtyard. LES keeps HIS eyes on JACK, HIS new hero. DAVID is wary of this wild
street bandit. We are now in the loading dock for the distribution center. The NEWSIES move through the gates
and up the steps to the loading dock where the papers are loaded into wagons. On the roof of the wagon, HIS
moment over, JACK watches the NEWSIES line up for papes. In the courtyard below, DAVID pulls LES
towards the gate and into line. The humiliated DELANCEY BROTHERS push through the line and enter the
circulation office late for work again. DAVID and LES take their place. OLDER BOYS cut in the front, with no
protest, including RACETRACK, MUSH, and CRUTCHY. Flushed from HIS escape, JACK saunters up to the
head of the line. BOOTS and MUD to HIS right and left. JACK leans on the counter and begins banging on the
window.)

JACK
Oh, Mr. Weasel.

WEASEL
(off stage)
Alright. Alright. Hold your horses. I’m coming. I’m coming.
(HE opens up the window. From behind the window where the papers are dispensed, WEASEL, disgusted, steps
forward. Behind HIS window, HIS cudgel close at hand, WEASEL sits as the NEWSIES fight for positions in
line.)

JACK
(sarcastically)
So, did you miss me, Weasel? Huh, did you miss me?

(WEASEL burns. The NEWSIES laugh. Inside the DELANCY BROTHERS bristle at JACK’S boldness. JACK
turns to the smiling NEWSIES, wags HIS eyebrows for a laugh and sees LES staring at him. JACK winks at LES
and LES smiles, fascinated. DAVID is still mistrustful of this wild street kid. JACK turns, picks up a paper and
scans the headlines. WEASEL is impatient.)

WEASEL
(irritated)
I told you a million times: the name’s Wisely. Mr. Wisely to you.
(HE begins to count papers)
How many?

JACK
Don’t rush me. I’m perusing the merchandise, Mr. Weasel.
(The NEWSIES snicker. Taking HIS good old time, JACK lowers and folds the paper and finally holds up a
fifty-cent piece. WEASEL reaches for it. JACK pulls it away, then slaps it on the table. JACK leaves HIS hand
on the coin.)
The usual.
(WEASEL angrily rips JACK’S hand off the coin and barks at OSCAR.)

WEASEL
A hundred papes for the wise guy.
(OSCAR slams the papers on the counter. JACK picks them up and steps aside.)
Next!

20
RACETRACK
(stepping up to the window)
Morning, your honor! Listen, do me a favor: spot me fifty papes? I got a hot tip in the fourth. You won’t waste your
money.

WEASEL
(leaning in and whispering)
It’s a sure thing?

RACETRACK
Yeah. Not like last time.

WEASEL
(calling to OSCAR)
Fifty papes! Next!

CRUTCHY
(stepping up to the window)
Hi, Mr. Wisel.

(The action shifts to a place along the loading dock where JACK, BOOTS and RACETRACK all scan the papers
looking for the catchy headlines as DAVID and LES, in the background, move to the window, watching JACK
and the others.)

RACETRACK
See anything good this morning?

BOOTS
(looking through the paper)
“Chief Devery on the take?”

JACK
(shaking HIS head)
Greasin’ cops ain’t news.
(JACK finds a headline. CRUTCHY leaves the window and heads over to where JACK, RACETRACK and
BOOTS and sitting. Another NEWSIE steps up to the window)
Here’s one: “Mother Gives Birth to Cow.”

CRUTCHY
(taking it seriously)
She did?

JACK
No, Crutch…I made it up.
(THEY laugh at CRUTCHY'S gullibility. JACK knuckles HIS head. A NEWSIE leaves the window with a stack
of papers as DAVID steps up to the window. LES stands to the side still watching JACK.)

DAVID
Twenty papers, please.

RACETRACK
(still looking for headlines)
21
Look at this: “Baby Born with Three Heads”. Must be from Brooklyn.

(a commotion at the window draws THEIR attention. At the circulation window DAVID holds HIS ground as
WEASEL leans challengingly into HIS face. A hush settles over the NEWSIES as LES looks around nervously at
the staring NEWSIES.)

WEASEL
You got your lousy papes, now beat it!

DAVID
(gulps)
I paid for twenty and I only got nineteen.

WEASEL
Are you accusing me of lying, kid?

DAVID
No, I just want my paper.

MORRIS
(stepping up to the window)
He said beat it.

(DAVID sweats. OSCAR and MORRIS chuckle in anticipation. JACK steps up beside DAVID and slams HIS
hand down on the little stack of papers. DAVID jumps. JACK closes HIS eyes and thumbs the stack.)

JACK
Nineteen, Weasel. One of your bums can’t add. But don't worry about it. It's an honest mistake. I mean, Morris here
can't count to twenty with his shoes on.
(WEASEL glares, deciding whether a confrontation with JACK is worthwhile. HE decides against it. JACK
calls to RACETRACK)
Hey Race, will you spot me two bits?
(RACETRACK throws HIM some coins. JACK places the coins on the counter.)
Another fifty for my friend here.

DAVID
I don’t want another fifty.

JACK
Sure you do. Every Newsie wants more papes.
(to LES)
Right, kid?
(LES nods confused. WEASEL throws another fifty papes onto DAVID’S stack.)

WEASEL
(calling for the next NEWSIES)
Next!
(JACK jumps down from the loading dock and heads for the gate. LES, DAVID [grabbing HIS papers] and
some of the GANG follow. DAVID and LES hurry to catch up to JACK.)

DAVID
I don't want your papes. I don't take charity from anyone.
22
(trying to hand HIM the extra papers)
Here are your papes. I don't know you. I don’t care to.

LES
Cowboy. They call him Cowboy.

JACK
Yeah, I'm called that and a lot of other things, including Jack Kelly, which is what me mudder called me.
(the GANG stops behind DAVID and LES as DAVID holds out HIS hand, THEY shake hands. To LES.)
What do they call you, kid?

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

JACK
No kidding. How old are you?

LES
Me? Near ten.

JACK
Near ten. Well, that's no good. If anyone asks, you're seven.
(LES is crushed)
You see, younger sells more papes and…
(to DAVID)
…if we're gonna be partners, we wanna be the best.

DAVID
Wait. Who said anything about being partners?

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

DAVID
Ah-ha.

JACK
(mocking)
Ah-ha.

DAVID
Why do I need you?

CRUTCHY
Why do you need air to breathe?

BOOTS
Exactly.

JACK
I'll show you the ropes, the hot spots, teach you some tricks and keep you from gettin' shiners.
23

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

DAVID
(hesitates, bravely)
Well, if he's the best, then how come he needs me?
(JACK smiles at DAVID, respecting HIS courage.)

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

LES
(excitedly)
Yeah!

JACK
(JACK smiles and looks at DAVID. DAVID is still dubious.)
So, we got a deal?

DAVID
Wait. It’s got to be at least fifty-fifty.

JACK
Sixty-forty. Take it or leave it.
(a beat and then DAVID holds out HIS hand. JACK spits on HIS hand and reaches for DAVID’S, who pulls HIS
arm away.)
What’s the matter?

DAVID
That’s disgusting.

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

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

DAVID
Bad headline.

JACK
That's the first thing you gotta learn: Headlines don't sell papes, Newsies sell papes. You know, we're what holds this
town together. Without Newsies, nobody knows nothing.
(A GIRL hurries past and the NEWSIES take off THEIR hats and make a few comments)
Gentlemen, the suckers is waiting.

SPECS
(calling out a headline)
24
‘Baby born with three heads!”

(The NEWSIES begin to yell out various headlines as THEY spread out over the streets. The NEWSIES may find
THEIR own path out of the theatre. DAVID, LES and JACK are to exit through the audience. The NEWSIES are
to continue barking headlines as THEY exit the theatre and segue into the next scene.)
25
Scene Three

(We are now inside Pulitzer’s office at the top of the World Building. The penthouse. Irreplaceable works of
art, a massive desk and a golden dome that reflects golden light onto: JOSEPH PULITZER, 52, newspaper
magnate and owner of New York World, as HE stands in all HIS luxury at a window looking down at the street.
By HIS side is HIS secretary JONATHAN, 35, an uptight English starchy. Also in the room are SEITZ and
another WORLD EMPLOYEE. PULITZER, nearly blind, holds heavy-lensed glasses on a holder up to HIS eyes
and squints. HE sees JACK, DAVID, LES and other NEWSIES begin THEIR day. In this scene there should be
the noise of hustle and bustle happening somewhere in the distance of the theatre [perhaps in the far corner of
the lobby away from the audience as not to distract too much]. As the scene progresses, the ‘NOISEMAKERS’
should slowly inch THIER way towards the door making the noise grow and can therefore segue into the next
scene as this scene draws to a conclusion.)

PULITZER
How do they get so dirty?

JONATHAN
They don't bathe, Mr. Pulitzer.

PULITZER
Only the poor abandon their children.
(JONATHAN nods)
Is there another place for them to congregate? I hate seeing them.
(JONATHAN makes a note. PULITZER sits at HIS desk and reads the morning headline.)
'Trolley Strike Drags On For Third Week' and this so-called headline drags on for infinity.

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

PULITZER
Well, that's all Mr. William Randolph Hearst has too, but look how he covers the strike.
(picks up a different newspaper and shoves it in the EMPLOYEE’S face.)
Look! Look!

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

PULITZER
Steal Hearst's man. Offer him double.

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

PULITZER
Then we need to make more money. You do not penny-pinch when you're in a war, Seitz. Victory means everything.
Now, when I created the World…
(by now the noise has grown…but not too loud)
What is that deafening noise?

JONATHAN
Just the Newsies, sir. I'll go have them quieted.
26

PULITZER
Never mind the Newsies. Where was I?

SEITZ
Creating the World, Chief.

PULITZER
(HE gets up and goes to the window and looks out at the NEWSIES selling papers.)
There's lots of money down there, gentlemen. I want to know how I can get more of it...by tonight.
(segue)
27
Scene Four

(We are now on the street. NEWSIES have entered from all areas of the theatre barking headlines. JACK,
DAVID and LES enter UR and cross DL. On the DR side, TWO LOVERS spoon on the steps of a building. An
open-air market, filled with VENDOR'S carts selling everything from candy to suspenders. Shouting and
singing in pidgin English and countless other tongues. JACK walks as if HE owns the block. HIS movements are
fluid, dance-like, as HE weaves a spell over DAVID and LES.)

JACK
The thing is, some Newsies got corners and regular customers and they know exactly
what they'll sell every day. Me, I like to work the angles, keep moving, and enjoy life. I
spot an opportunity, I sell a pape. That's the advantage of being an independent
businessman.
(points at the TWO LOVERS)
Look. A good tip, guaranteed.

DAVID
They don't want a paper.
(JACK smiles and whispers in LES’S ear. LES runs to THE LOVERS, moves close, and shouts ear-splittingly.)

LES
Brooklyn Trolley crushes baby!

(the LOVERS spring apart. The MAN looks at LES murderously. LES holds out a paper. The MAN tosses a coin
at LES to get rid of HIM. LES runs happily back to DAVID and JACK.)

LES
A dime!
(JACK takes the dime. LES' face falls. JACK sees this, gives it back to HIM. DAVID looks at JACK with wary
respect.)

JACK
Keep it, kid. You earned it.
(HE grabs DAVID by the arm who in turn grabs LES by the arm and leads THEM to another spot on stage.)
C'mon, I'll show ya some more.

(The BOYS are catching JACK'S rhythm and movements as THEY weave through the CROWD chanting/singing
the headlines.)

DAVID & LES
Crooked cops! Bulls on the take!

JACK
Spring a penny, buy a pape!
(suddenly JACK jumps atop a crate, yells.)
Extra! Extra! Ellis Island explodes!
(DAVID looks skeptically at HIM. JACK just smiles as eager BUYERS rush to HIM. The rumor spreads in
several languages. Low, to DAVID)
Page nine. Trash fire next to the immigration building.
(calls)
Extra! Ellis Island explodes!
(DAVID is offended. HE steps away from JACK.
28

Now, papers are handed to CUSTOMERS. Money handed back to LES [repeat twice]. WOMEN with funny
hats fawn over LES. ONE WOMAN gives LES a kiss. LES turns to JACK and DAVID and winks.

A saloon door has been moved on stage. The BOYS move over to the door and shove LES in. JACK and DAVID
wait outside. JACK reads a battered dime western novel. DAVID waits nervously. LES comes running out of the
saloon with no papers. JACK takes money from HIM, hands HIM a paper.)
Startin' in back, like I tol' ya?
(LES nods)
Show me again.

LES
(HE assumes a bedraggled look, holds out the single newspaper, coughs and says pathetically)
Buy me last pape, mista?

JACK
Heartbreakin'! Get 'em, kid.
(LES runs back inside. DAVID looks at JACK disapprovingly.)

DAVID
We were taught not to lie.

JACK
I was taught not to starve to death in the gutter. Who ya gonna believe?

LES
(emerges from the saloon.)
A quarter! He gave me a quarter!
(DAVID leans and sniffs at LES.)

DAVID
Somebody spill beer on you?

LES
I drank some. That's how I got the quarter.

DAVID
(admonishingly)
Les...I told you...

JACK
(stern)
Hey! Look. Number one rule. No drinkin' on the job. Ya hear?
(LES nods, dead serious. DAVID rolls HIS eyes. JACK gives LES another paper. LES runs back inside.

From the right side of the audience, a black-suited man, NIGEL SNYDER, 49, and a burly 55 year-old Irish
cop, CAPTAIN MCSWAIN, enter the scene. SNYDER has the intensity of a religious fanatic. MCSWAIN sees
JACK and DAVID outside the saloon.)

MCSWAIN
(pointing to JACK, to SNYDER)
There's your pal.
29
(SNYDER looks and sees JACK: instant hate, HIS ears go crimson. HE goes after JACK; MCSWAIN, reluctant,
follows. As LES exits, DAVID glances up the sidewalk and notices SNYDER and MCSWAIN hurrying toward
them.)

DAVID
We doing something wrong?
(JACK turns sees SNYDER and MCSWAIN only a few feet away. HIS smile disappears. JACK stands and starts
running. LES runs after HIM. DAVID grabs papers and follows THEM.)

LES
(as HE is running)
All this for one sip of beer?

JACK
(hears THEM behind HIM and yells over HIS shoulder)
Beat it! They don't want you!
(THEY follow HIM anyway. THEY exit the stage and enter again from one of the side doors on the side of the
stage.

At the front of the stage, a backdrop covered in bricks has fallen from the ceiling to make this look like an alley.
We are now in Blind Man’s Alley. The drop does not have to cover the entire stage, but it must cover enough
area to house the THREE BOYS, SNYDER, MCSWAIN, DENTON and the SEVEN BLIND PEOPLE. THEY can
run in place, but there must be enough distance between THEM. Also, if THEY are running, some lights might
flash and such to make it look as if THEY are running in and out of shadows.

DENTON photographs SIX BLIND MEN and ONE BLIND WOMAN, all with dark glasses and white canes. As
JACK, DAVID and LES sprint toward them, JACK yells out to one of the MEN)
Hey, hey Danny!
(DANNY senses the urgency in JACK'S voice as HE passes and when THEY hear the heavy footsteps of the law
behind THEM, THEY stand and block THEIR way. SNYDER and MCSWAIN have to slow down cautiously
moving between THEM. The THREE BOYS race across the front of the audience and make noises as THEY run
behind the audience seating. MCSWAIN and SNYDER blow THEIR whistles. Blind Man’s Alley raises to reveal
the street once again. JACK, DAVID and LES race across the crowded street, through wagon traffic and exit
the stage and come in through one of the side doors where a small stairway has been rolled on. We are now
inside a tenement building. Dank and dark. The BOYS race up the creaky stairs. JACK, at home, hops over a
MAN slumped on the landing, warning THEM)
Sleeper!
(THEY nimbly jump the SLEEPER, run up and down various stairways of varying sizes down a hall past other
ghostly FIGURES and then fly down more steps and out another door. MCSWAIN and SNYDER in hot pursuit.

A short wall unit has been rolled on to the front of the stage. Other items resembling a rooftop are brought on.
A ramp is at the end of this wall for easier access to the auditorium ground. JACK jumps the wall screaming as
if HE has just jumped from the top of the building. DAVID and LES are in shock. JACK pops HIS head over the
top of the wall and calls THEM over. DAVID and LES run to the wall, hop over and hit the floor just as
SNYDER and MCSWAIN enter.)

SNYDER
(calling out)
Sullivan! Wait ‘til I get you back to the Refuge!
(Blackout.)
30
Scene Five

(The stage is now set as Irving Hall, but there is no light on the actual stage. All the lights are on the THREE
BOYS who are walking the street [which is happening in front of the stage on the auditorium floor.] DL a door
labeled ‘Stage Door’ is dimly lit by a lamp post close by.)

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

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

DAVID
You were in jail?

JACK
I stole some food...
(DAVID skeptical)
...to feed my kid brother,
(crosses HIS heart)
Truth.

LES
Where's your brother?

JACK
(pulls the dime novel from HIS back pocket. Shows LES.)
Out west. With the Cowboys. My dad and him went to get settled. I'm just waitin' for the word and I'm on the ol' Santa
Fe Trail myself, headin' west.

LES
You're gonna be a cowboy?

JACK
Like Wild Bill Hickock. Except I'll learn to ranch.

DAVID
He called you Sullivan.

JACK
Well, my name's Kelly. Jack Kelly.
(a beat)
You think I'm lying?

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

JACK
'Cause I escaped.

LES
Oh boy! How?
31

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

DAVID
(sarcastically)
I bet it was the mayor.

JACK
No, Teddy Roosevelt. You ever heard of him?
(JACK empties the change from HIS pockets into HIS hands; all THEY made that day. DAVID counts.)
How much we got?

DAVID
(pleased)
Two dollars and seventy-five cents.

JACK
Not bad. Let's see the show.

DAVID
Show?

JACK
(signaling to the door)
At the Irving. It's new tonight.
(DAVID starts to complain as JACK starts to the door, remembers the papers and grabs them on HIS way up
stairs.)

JACK
Gotta sell these. Don't want to eat the leftovers. Right, Les?
(HE goes to the backstage door)

LES
Whatever you say.
(DAVID and LES stand on the sidewalk watching JACK at the backstage door talking to the stage manager,
FAT MAX COHEN, 65. FAT MAX enjoys talking to the BOY. MAX looks up at THEM.)

MAX
If anybody gets hurt, Jack, my ass is...

JACK
Won't happen Max. Give me a break, I'm a reg'lar customer.
(MAX hesitates, looks around, and then nods. JACK turns and waves DAVID and LES on. THEY hurry to HIM
and enter. Segue to next scene.)
32
Scene Six

(THE BOYS enter. We are now inside Irving Hall. TWO MEN juggle as a plump scantily clad WOMEN gestures
and points at THEM.)

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

JACK
You wouldn't kick me out without a kiss goodbye, would you Medda?

MEDDA
Oh, Kelly. Where ya been, kid?
(SHE hugs JACK)
Oh, I miss seeing you up in the balcony.

JACK
Hanging on your every word. So, Medda…

MEDDA
Yes.

JACK
This is David and Les.
(THEY bow)

MEDDA
Hello.

JACK
(grabbing HER hand and introducing HER)
And this is the greatest star of the vaudeville stage today, Miss Medda Larkson, the Swedish Meadowlark.

MEDDA
Welcome, gentlemen.
(SHE curtsies)

JACK
Medda also owns the joint.
(LES begins to cough and do HIS usual sales pitch)

MEDDA
Oh, what do we have here? Oh, aren't you the cutest little thing there ever was? Yes you are.
LES
(cough)
Buy me last pape, lady?

MEDDA
(SHE looks at JACK recognizing the sales pitch and then looks back at LES)
Oh, you are good. Oh yes, this kid is really good. Speaking as one professional to another, I'd say you have a great
future.

33
JACK
(getting back to business)
So, is it all right if we stay here for a little while, Medda? Just until a little problem outside goes away.

MEDDA
Sure, stay as long as you like.
(to MAX)
Max, just give my guests whatever they want.

ANNOUNCER (V.O.)
And now gents, the moment you've all been waiting for. The sensational songbird. The Swedish Meadowlark, Miss
Medda Larkson.
(MEDDA goes on stage. THE BOYS climb up a ladder and sit amongst the rigging above the stage. DAVID and
LES are in heaven sitting with JACK on the catwalk above the stage straddling the ropes as THEY watch the
show below. LES is packing away the candy. JACK glances at HIS new friends, pleased.)

MEDDA
MY LOVEY DOVEY BABY
I BOO-HOO-HOO FOR YOU
I USED TO BE YOUR TOOTSIE-WOOTSIE
THEN YOU SAID 'TOOLDLE-DEDOO'

I MISS THE HANKY-PANKY
EACH NIGHTY-NIGHT TIL THREE
COME BACK MY LOVEY DOVEY BABY
AND COOCHIE-COO WITH ME

(After the show, THE BOYS begin to climb back down to the stage and make THEIR way to the back door of the
theatre and back out to the street.)

JACK
So, you like that?

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

JACK
She was a friend of me fadder's.
(THEY step out the door and notice it is now nighttime. The lights shift back to ‘street lighting.’ The stage
should be black so that the set for David’s house can be set up without distracting from the action. The dialogue
should cover the scene change so that the blackout at the end will only have to be long enough for JACK,
DAVID and LES to make it to the doorway of the apartment.)

DAVID
Oh, it's getting late. My parents are going to be worried.

JACK
I'll walk with ya.
(THEY start off together.)
My Lovey Dovey Baby
34

LES
(grabbing HIS stomach)
I don’t feel so good.
(JACK goes to pick HIM up. THEY walk to the other side of the stage [on the street].)

DAVID
(halfway)
Next building. Want me to take'm?

JACK
Nah...I got'm.
(pause)
What floor ya on?

DAVID
Fifth.
(JACK immediately passes LES back to DAVID. DAVID and JACK exchange a smile and then walk off.
Blackout.)
35
Scene Seven

(David’s apartment. Crowded, clean and well ordered. A warm one-room apartment which serves as both
working and living area. Two windows to a fire escape look into the alley. DAVID’S mother, ESTHER
JACOBS, 38 looks up from HER piecework as the door opens and DAVID carries LES inside. HER hand comes
to HER mouth in fright; accent colors HER speech.

ESTHER
My God...

DAVID
It's okay, Momma, he's just sick to his stomach.
(ESTHER rushes to HER baby as DAVID'S sister, SARAH, 18, turns from HER piecework and faces us. SHE’S
pale and pretty with dark almond shaped eyes and olive skin. DAVID'S father, MAYER, 43, relieved but angry,
awkwardly folds HIS newspaper with one bandaged arm in a sling. HE sees LES is alright and gives JACK the
once over. During the excitement JACK just looks around at the apartment. A home. To HIM the Taj Mahal.
Food on the stove, sheets on the bed. Home. It hits HIM hard. DAVID sees HIS father looking at JACK.)
This is my friend Jack.
(to JACK)
My parents...
(motioning to SARAH)
…and that's Sarah. My sister.
(MAYER shakes hands with JACK as ESTHER lays LES on HER bed. SARAH stands and looks at JACK; at
once defensive and curious. JACK looks HER straight in the eye, in awe of HER beauty...and speechless. To
MAYER)
Jack, Les, and I are partners.
(DAVID pulls out HIS change and puts it on the table. MAYER acts like HE robbed a bank, then counts it.)

MAYER
(amazed)
Ninety-five cents?
(DAVID nods)
You can make that everyday?

JACK
More.

DAVID
Today we were just learning.

MAYER
(MAYER looks at ESTHER, proud, then smiles at JACK.)
We've only got soup, Jack, but you're welcome to join us.

JACK
I don't know...I'm sorta expected...
(JACK looks at SARAH quickly then back to MAYER.)
Maybe just a bowl.
(ESTHER adds water to the pot.)

MAYER
(to SARAH, quietly)
36
Sarah? Go get the cake your mother's hiding in the cabinet.

ESTER
(playfully hitting HIM on the arm [not the broken arm] with HER towel)
That's for your birthday tomorrow!

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

DAVID
(getting up)
I'll get the knife.

SARAH
I got the plates.

DAVID
(gathering up silverware)
This is only the beginning, papa. The longer I work, the more money I'll make.

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

SARAH
(bringing the cake to the table. SHE kisses him on the head)
Happy birthday, papa.

MAYER
(to the FAMILY)
This is going to heal, and they'll give me my job back.
(LES stirs, but doesn't wake up in bed.)

LES
COME BACK MY LOVEY DOVEY BABY
AND COOCHIE-COO WITH ME
(DAVID and JACK start laughing)

ESTER
And what is this David?
(THE BOYS try to stop laughing, but can't. THEY all begin to eat.)

JACK
(changing the subject)
What do you do for a living, sir?

MAYER
(pats his arm)
Not much with this arm, son. But I have worked as a tailor.

JACK
What happened to the arm?
(MAYER hesitates)
37

DAVID
He was striking. They busted it for him.

MAYER
I try to do what's right. But sometimes that makes it hard to make a living.
(THEY all get up from the table. ESTER goes over to LES. SARAH clears the table. MAYER goes back to
reading HIS newspaper. JACK and DAVID exit to the fire escape. Segue to next scene.)
38
Scene Eight

(We are now on the fire escape outside DAVID’S. JACK and DAVID look out over the city. ESTHER, inside,
sings a lullaby to LES. SARAH sits doing HER own work while MAYER reads the paper. JACK looks longingly
back inside at the warmth...and SARAH.)

MAYER
(from inside the apartment)
David. It's late.

DAVID
(to MAYER)
Alright.
(to JACK)
Jack, why don't you stay here tonight?

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

DAVID
(hesitates, then starts back inside the open window.)
See you tomorrow.

JACK
Alright.

DAVID
Carrying the banner.

JACK
Carrying the banner.
(JACK nods. DAVID slips inside and closes the window. JACK starts down, stops and looks back, remembering
what HE’S missed. HE listens to ESTHER sing a Lullaby, then, in counter point, JACK, watching SARAH,
begins to sing too.)

SO THAT'S WHAT THEY CALL A FAMILY
MUDDER, FADDER, DAUGHTER, SON
GUESS EVERYTHING YOU HEARD ABOUT IT'S TRUE.
(HE continues down the fire escape.)
SO YOU AIN'T GOT ANY FAMILY
WELL, WHO SAID YOU NEEDED ONE?
AIN'T YA GLAD NOBODY'S WAITING UP FOR YOU?

WHEN I DREAM ON MY OWN
I'M ALONE, BUT I AIN'T LONELY
FOR A DREAMER, NIGHT'S THE ONLY TIME OF DAY
WHEN THE CITY'S FINALLY SLEEPING
WHEN MY THOUGHTS BEGIN TO STRAY
Santa Fe
39
AND I'M ON THE TRAIN THAT BOUND FOR SANTA FE
(drops off the fire escape into the alley below moves to the sidewalk and walks the streets)

AND I'M FREE
LIKE THE WIND
LIKE I'M GONNA LIVE FOREVER.
IT'S A FEELING TIME CAN NEVER TAKE AWAY
ALL I NEED'S A FEW MORE DOLLARS
AND I'M OUTTA HERE TO STAY
DREAMS COME TRUE
YES THEY DO
IN SANTA FE
(PEOPLE slowly begin to walk the streets. Throughout the song, HE interacts with PEOPLE as they pass.)

WHERE DOES IT SAY YOU'VE GOTTA LIVE AND DIE HERE?
WHERE DOES IT SAY A GUY CAN'T CATCH A BREAK?
WHY SHOULD YOU ONLY TAKE WHAT YOU'RE GIVEN?
WHY SHOULD YOU SPEND YOUR WHOLE LIFE LIVIN'
TRAPPED WHERE THERE AIN'T NO FUTURE
EVEN AT SEVENTEEN
BREAKING YOUR BACK FOR SOMEONE ELSE'S SAKE
IF THE LIFE DON'T SEEM TO SUIT YA
HOW BOUT A CHANGE OF SCENE?
FAR FROM THE LOUSY HEADLINES
AND THE DEADLINES IN BETWEEN SANTA FE

(dance)

SANTA FE,
ARE YOU THERE?
DO YOU SWEAR YOU WON'T FORGET ME?
IF I FOUND YOU WOULD YOU LET ME COME AND STAY?
I AIN'T GETTING ANY YOUNGER
AND BEFORE MY DYING DAY I WANT SPACE
NOT JUST AIR
LET 'EM LAUGH IN MY FACE, I DON'T CARE
SAVE A PLACE
I'LL BE THERE

(JACK sees TWO COPS coming and instinctively hides in the shadows until THEY pass: HE finishes the song in
the dark.)
SO THAT'S WHAT THEY CALL A FAMILY?
AIN’T YA GLAD YOU AIN'T THAT WAY?
AIN’T YA GLAD YOU GOT A DREAM CALLED SANTA FE?
(JACK gets out from HIS hiding place. RACETRACK enters. We are now outside the Lodging House. Walking
to the entrance of the Lodging House...)
Hiya Race.

RACETRACK
Hey Jack.

JACK
40
How was your day at the track?

RACETRACK
(THEY walk through the door)
Remember that hot tip I told you about?
(JACK nods)
Nobody told the horse.
(Blackout as door closes.)
41
Scene Nine

(Pulitzer’s office. PULITZER sits at HIS desk, eyes closed, HIS staff before HIM. JONATHAN, HIS secretary,
reads a report in softly measured tones. EVERYONE speaks softly to PULITZER.)

JONATHAN
Circulation up twelve percent, advertising revenues down ten percent, projected losses...
(HE drones on. DON SEITZ, 45, more like a coach than a business manager, sips quietly at HIS coffee.
PULITZER’S hearing is so oversensitive that slight noises can fray HIS delicate nerves.)

PULITZER
So...We're winning the circulation war but losing our shirts...

SEITZ
Yes, sir. We take a loss on every paper we sell.
(PULITZER nods, distressed)
We could raise the street price to two cents...

PULITZER
In deference to your imperious sensibilities, Mr. Seitz, if we held to that course Hearst and the others would stay at a
penny and cut our throats.
(PULITZER spins in HIS chair and looks out over the city, HIS hand resting on the head of a bronze statue of
Napoleon.)
What would the Newsies do if we raised their price?

SEITZ
They'd howl for sure, but we have people in place to control them.

PULITZER
What do they pay now?

SEITZ
Fifty cents per hundred.

PULITZER
Charge them sixty.

SEITZ
Yes, sir.

PULITZER
And coordinate it with Hearst, Mr. Seitz. Strict secrecy. He's still afraid of his boys.
(Blackout.)
42
Scene Ten

(Newsies Square. Next morning. There are chalkboards above Newspaper Row. We see the headlines being
written in chalk. "July 18, 1899: POLICEMAN KILLED IN TROLLEY STRIKE". We hear the sound of the bells
ringing as we see the gates opening to The World loading dock. The NEWSIES move toward the window to buy
THIER morning papes.

RACE, DAVID, LES, MUD, MUSH, BOOTS. A fight breaks out. KID BLINK, 15, Polish, with a busted nose and
a bad eye-tic, slugs it out with MORRIS DELANCEY. The NEWSIES crowd in, yelling and screaming as the
TWO BOYS fall off the loading dock onto the cobblestones below. A BEAT COP passing, sees the action and
wades into the crowd. Beyond the gates, JACK, arriving late, sees the commotion and runs to it. The COP
separates the FIGHTERS with the help of the BOYS as JACK forces HIS way through the crowd. KID BLINK,
nose bleeding, sees JACK coming.)

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

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

BOOTS
I’ll be back sleeping on the streets.

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

RACETRACK
Because he’s a tight wad, that’s why!

JACK
Pipe down, it’s just a gag.
(JACK approaches the window)
So, why the jack up Weasel?

WEASEL
Why not?
(HE looks at the sky. Sarcastically)
It’s a nice day. Why don’t ya ask Mr. Pulitzer?

KID BLINK
They can’t to this to me Jack.

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

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

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

43
MUSH
Jack, we got no choice, so why don’t we get our lousy papes while they still got some, huh?

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

LES
(shoving NEWSIES out of the way)
Give him some room, give him some room. Let him think.
(HE sits next to JACK)

RACETRACK
(after a few seconds)
Jack, you done thinkin’ yet?

WEASEL
(calling out)
Hey! Hey! Hey! World employees only on this side of the gate!
(a commotion breaks out)

JACK
(quieting THEM down)
Well, listen. One thing’s for sure, if we don’t sell papes, then nobody sells papes. Nobody comes through those gates
until they put the price back to where it was.

DAVID
(sarcastically)
You mean like a strike?

JACK
(a beat)
Yeah, like a strike!
(DAVID gets a weary look on his face)

RACETRACK
Are you out of your mind?

JACK
It’s a good idea!

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

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

DAVID
No, we’re just a bunch of angry kids with no money. Maybe if we got every Newsie in New York, but…

JACK
(overlapping)
Yeah, well we organize. Crutchy, you take up for collection. We get all the Newsies of New York together.
44

DAVID
Jack, this isn’t a joke.
(grabs JACK by the shoulders)
Stop and think about this Jack. You can’t just rush everybody into this.

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

LES
(a beat)
Strike!

BOOTS
Keep talking Jack. Tell us what to do!

JACK
Well,…
(turns to DAVID)
…you tell us what to do Davey.

DAVID
(to JACK)
Pulitzer and Hearst have to respect our rights.

JACK
(relaying DAIVD’S message)
Hey listen! Pulitzer and Hearst have to respect the rights of the working boys of New York!
(the NEWSIES cheer. To DAVID)
Well, that worked pretty well. So what else?

DAVID
(to JACK)
Tell them that they can’t treat us like we don’t exist.

JACK
(relaying DAVID’S message)
PULITZER AND HEARST, THEY THINK WE’RE NOTHING.
ARE WE NOTHING?

NEWSIES
No!

The World Will Know
45
DAVID
(to JACK)
If we stick together like the trolley workers then they can’t break us up.

JACK
PULITZER AND HEARST, THEY THINK THEY GOT US.
DO THEY GOT US?

NEWSIES
No!

DAVID
(to JACK)
We’re a union now, the Newsboys Union. We have to start acting like a union.

JACK
EVEN THOUGH WE AIN’T GOT HATS OR BADGES
WE’RE A UNION JUST BY SAYING SO
AND THE WORLD WILL KNOW!

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

JACK
Well, we'll talk with them!

RACETRACK
Some of them don’t hear so good!

JACK
Well then we’ll soak ‘em!

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

CRUTCHY
Can’t get any worse.

JACK
WHAT’S IT GONNA TAKE TO STOP THE WAGONS?
ARE WE READY?

NEWSIES
Yeah!

DAVID
No!

JACK
WHAT’S IT GONNA TAKE TO STOP THE SCABBER?
CAN WE DO IT?

46
NEWSIES
Yeah!

JACK
WE’LL DO WHAT WE GOTTA DO UNTIL WE
BREAK THE WILL OF MIGHTY BILL AND JOE!

NEWSIES
AND THE WORLD WILL KNOW
AND THE JOURNAL TOO!
MR. HEARST AND PULITZER
HAVE WE GOT NEWS FOR YOU!
NOW THE WORLD WILL HEAR
WHAT WE’VE GOT TO SAY
WE’VE BEEN HAWKING HEADLINES
BUT WE’RE MAKING ‘EM TODAY.
AND OUR RANKS WILL GROW!

CRUTCHY
AND WE’LL KICK THEIR REAR!

NEWSIES
AND THE WORLD WILL KNOW THAT WE’VE BEEN HERE!

JACK
WHEN THE CIRCULATION BELL STARTS RINGING
WILL WE HEAR IT?

NEWSIES
No!

JACK
WHAT IF THE DELANCEY’S COME OUT SWINGING
WILL WE HEAR IT?

NEWSIES
NO!
WHEN YOU’VE GOT A HUNDRED VOICES SINGING
WHO CAN HEAR A LOUSY WHISTLE BLOW?

AND THE WORLD WILL KNOW
THAT THIS AIN’T NO GAME
THAT WE GOT A TON OF ROTTEN FRUIT AND PERFECT AIM
SO THEY GAVE THEIR WORD
BUT IT AIN’T WORTH BEANS!
NOW THEY’RE GONNA SEE WHAT ‘STOP THE PRESSES’ REALLY MEANS
AND THE DAY HAS COME
AND THE TIME IS NOW
AND THE FEAR IS GONE

BOOTS
AND THEIR NAME IS MUD!
47

NEWSIES
AND THE STRIKE IS ON

BOOTS
AND I CAN'T STAND BLOOD!

NEWSIES
AND THE WORLD WILL…

JACK
PULITZER MAY OWN THE WORLD BUT HE DON’T OWN US!

NEWSIES
PULITZER MAY OWN THE WORLD BUT HE DON’T OWN US!

JACK
PULITZER MAY CRACK THE WHIP BUT HE WON’T WHIP US!

NEWSIES
PULITZER MAY CRACK THE WHIP BUT HE WON’T WHIP US!

AND THE WORLD WILL KNOW
AND THE WORLD WILL LEARN
AND THE WORLD WILL WONDER HOW
WE MADE THE TABLES TURN
AND THE WORLD WILL SEE
THAT WE HAD TO CHOOSE
THAT THE THINGS WE DO TODAY
WILL BE TOMORROW’S NEWS
AND THE OLD WILL FALL
AND THE YOUNG STAND TALL
AND THE TIME IS NOW
AND THE WINDS WILL BLOW
AND OUR RANKS WILL GROW
AND GROW AND GROW AND SO
THE WORLD WILL FEEL THE FIRE
AND FINALLY KNOW!

NEWSIES
(yelling)
Strike! Strike! Strike! (etc.)

JACK
We gotta get word out to all the Newsies of New York. I need some of those…
(to DAVID)
…what do you call ‘em?

DAVID
(quietly to JACK)
Ambassadors?

48
JACK
(pats DAVID on back)
Yeah, right.
(to NEWSIES)
Okay, you guys, you gotta be am-bastards and go tell the others that we’re on strike.

KID BLINK
Say, Jack, I’ll take Harlem.
(HE exits)

RACETRACK
Yeah, I got Midtown.
(HE exits)

MUSH
I got the Battery, Jack.
(HE exits)

CRUTCHY
Hey, I’ll take the Bronx.
(HE exits)

JACK
Alright. And Bumlets, and Specs and Skittery, you take Queens.
(BUMLETS, SPECS and SKITTERY exit)
Pie Eater! Snoddy! East Side!
(PIE EATER and SNOODY exit)
Snipeshooter, you go with ‘em.
(SNIPESHOOTER exits)
So, what about Brooklyn?
(silence)
Come on, Spot Conlon’s territory.
(silence)
What’sa matta? You scared of Brooklyn?

BOOTS
(courageously)
Hey, we ain’t scared of Brooklyn.
(backing down)
It’s Spot Conlon that makes us a little nervous.

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

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

JACK
Me? To Pulitzer?

DAVID
You’re the leader, Jack.
49

JACK
(stands motionless. A beat. HE then grabs LES)
Well, maybe the kid’ll soften him up.
(JACK and LES enter the World Building. The NEWSIES cheer)

NEWSIES
Strike! Strike! Strike! (etc.)
(The rest of the NEWSIES go off in different directions. DENTON enters and approaches DAVID.)

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

DAVID
We’re bringing our demands to Pulitzer.

DENTON
What demands?

DAVID
The Newsies demands. We’re on strike.

DENTON
I’m with the New York Sun. Bryan Denton.
(THEY shake hands)
You seem like the kid in charge.
(taking out a pen and pad)
What’s your name?

DAVID
David.


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

DAVID
He has to.
(JACK and LES are thrown out the door.)

JACK
(to the PERSON inside the door)
Well, so’s your old lady! You tell Pulitzer he needs an appointment with me!

LES
(copying HIS idol)
Yeah!
(Blackout.)
50
Scene Eleven

(We are now in Tibby’s Restaurant. JACK, DAVID, LES and DENTON are sitting in a booth. DENTON takes
notes as JACK, DAVID and LES eat like THEY’VE never seen food before.)

JACK
(mouthful)
…What did I know? I just started talkin' and the next thing I knew it was goin'. So this snooty mug says to me, ‘You
can’t see Mr. Pulitzer. No one sees Mr. Pulitzer.’ Real hoity-toity, you know the type.

LES
Real hoity-toity.

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

LES
That’s when he threw us out.

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

JACK
(sarcastically)
Oh yeah, look at me. I’m trembling.
(a beat)
So, this will be in the Sun tomorrow?

DENTON
Can't miss. You're riding a hot story here. "Little Davids take on twin Goliaths!" Could hit the national wire.
(rises, pays bill)
My boss'd love to see The World and The Journal off the streets.
(HE begins to walk out)
Alright, keep me informed. I want to know everything that’s going on.

DAVID
Are we really an important story?

DENTON
(stops and turns to the NEWSIES. HE slowly walks back to THEM)
Well, what’s important? Last year I covered the war in Cuba. Charged up San Juan Hill with Colonel Teddy Roosevelt.
That was an important story. So, is the Newsie’s strike important? That all depends on you.

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

DENTON
Any objections?

JACK
Not as long as you get it right. It’s Kelly, Jack Kelly. Oh, and Denton? No pictures.
51

DENTON
Sure Jack.
(DENTON pats LES on the head and exits. The BOYS sit silently, slowly realizing what this will mean.)

DAVID
The whole country will read about us.

JACK
(astounded)
My eyes!!

LES
Is that good?
(JACK and DAVID look at LES and smile. Blackout)
52
Scene Twelve

(The stage is set to resemble Brooklyn. On one side of the stage, there is a small bridge unit. A milk wagon
rattles its way off the bridge and crosses the stage. DAVID, JACK and BOOTS riding on back. JACK, DAVID
and BOOTS hop off the back of the wagon and walk down the street quickly and warily, as if in enemy territory.
The NEIGHBORHOOD CHILDREN stop their play to stare as THEY pass.)

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

BOOTS
I spent a month here one night.

DAVID
So, is this Spot Conlon really dangerous?

BROOKLYN NEWSIE
Going somewhere, Kelly?
(JACK pushes past HIM. DAVID and BOOTS follow. A seven year-old, SPIKE, born to be tough, steps off a
stoop and blocks their way. SPIKE looks them over silently. DAVID, JACK and BOOTS face a dozen tough-
looking NEWSIES by a shack in a vacant lot. One BOY plucks a banjo, eyeing the strangers. A freckled gnome
saunters out: SPOT CONLON, 19.)

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

JACK
I see you moved up in the world, Spot. Got a river view and everything.
(The TWO BOYS spit-shake.)

SPOT
Heya Boots. How’s it rollin’?

BOOTS
(offering HIS bag of marbles)
I got a couple of real good shooters.
(SPOT takes the marbles and takes out HIS slingshot.)

SPOT
(through HIS speech, HE shoots marbles with HIS slingshot)
Yeah. So, Jacky-boy. I’ve been hearing things from little birds. Things from Harlem, Queens, all over. They been
chirpin’ in my ear. Jacky-boy’s Newsies is playing like they’re going on strike.

JACK
Yeah, well we are.

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

SPOT
Oh yeah?
(to JACK, referencing DAVID)
53
What is this, Jacky-boy? Some kind of walking mouth?

JACK
(taking DAVID under HIS arm)
Yeah, it’s a mouth. A mouth with a brain, and if you got half a one, you’ll listen to what he’s got to say.

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

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

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

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

JACK
Because I’m telling you, Spot.

SPOT
That ain’t good enough Jacky-boy. You gotta show me.
(Blackout.)
54
Scene Thirteen

(Several young NEWSIES play marbles beside a "Don't Buy World or Journal" sign. We see an unruly mob of
NEWSIES gathered by the statue. Playing games, throwing stones at passing carriages and generally having a
good time. MUSH and BOOTS collect rotten fruits and vegetables from VENDORS. DENTON there, setting up
a shot. RACETREACK is reading to KID BLINK from The Sun as DAVID, JACK and BOOTS arrive on the
scene. DAVID is distressed by the chaos.)

RACETRACK
Hey Jack.
(looking around)
So, where’s Spot?

JACK
Forget Brooklyn. We've got Newsies from all over the city. We're a union.

DAVID
It's not a union. It's a mob. We have to get organized. Half these kids don't even know why they're here.

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

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

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

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

JACK
Oh, do ya?

SKITTERY
Yeah.

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



JACK
Spot was right, is this just a game to you guys?
(to DAVID)
So, David. What should we do?

(Celebratory in tone, the song begins with JACK and DAVID trying to organize the KIDS. THEY realize THEY
need a "rallying cry", which becomes a slogan, turns into a cheer, then into a song that turns a mob of kids into
a unified force. The song segues to a dance as DAVID and JACK lead the BOYS to the World gates.)


55

DAVID
OPEN THE GATES AND SEIZE THE DAY
DON’T BE AFRAID AND DON’T DELAY
NOTHING CAN BREAK US NO ONE CAN MAKE US
GIVE OUR RIGHTS AWAY
ARISE AND SEIZE THE DAY!

NOW IS THE TIME TO SEIZE THE DAY

NEWSIES
(echoing)
NOW IS THE TIME TO SEIZE THE DAY

DAVID
SEND OUT THE CALL AND JOIN THE FRAY

NEWSIES
(echoing)
SEND OUT THE CALL AND JOIN THE FRAY

DAVID
WRONGS WILL BE RIGHTED IF WE’RE UNITED

ALL
LET US SEIZE THE DAY!

DAVID
FRIENDS OF THE FRIENDLESS SEIZE THE DAY

NEWSIES
(echoing)
FRIENDS OF THE FRIENDLESS SEIZE THE DAY

DAVID
RAISE UP THE TORCH AND LIGHT THE WAY

NEWSIES
(echoing)
RAISE UP THE TORCH AND LIGHT THE WAY

PROUD AND DEFIANT
WE’LL SLAY THE GIANT
LET US SEIZE THE DAY
NEIGHBOR TO NEIGHBOR
FATHER TO SON
ONE FOR ALL AND ALL FOR ONE!

DAVID
OPEN THE GATES AND SEIZE THE DAY

Seize the Day
56
NEWSIES
(echoing)
OPEN THE GATES AND SEIZE THE DAY

DAVID
DON’T BE AFRAID AND DON’T DELAY

NEWSIES
(echoing)
DON’T BE AFRAID AND DON’T DELAY

NOTHING CAN BREAK US
NO ONE CAN MAKE US
GIVE OUR RIGHTS AWAY
NEIGHBOR TO NEIGHBOR
FATHER TO SON!
ONE FOR ALL AND ALL FOR ONE!

(The NEWSIES surge forward to the desk and send a shower of old fruit and vegetables onto the WORKERS.
The WORKERS inside cover THEIR heads and hide. WEASEL shouts orders in vain. HE pulls HIS cudgel.
JACK leads a group of NEWSIES onto the first wagon. THEY clamber aboard beside the helpless DRIVER and
toss bundles of papers to the NEWSIES below, who tear them to shreds. DAVID stands at the edge of the action,
amazed at the frenzy of these CHILDREN, then joins THEM in tearing up the papers. NEWSIES cover the
wagons like ants, the DRIVERS fleeing. A whistle shrieks. THREE POLICEMEN come down the street, blowing
their whistles.)

JACK
(leaps onto the gate, bellowing)
Cheese it! Cheese it! It’s the bulls!
(the POLICE continue to blow THEIR whistles. The NEWSIES scramble, except CRUTCHY who does not
notice anything happening.)

RACETRACK
(running off)
Crutchy! Scram! Scram!
(CRUTCHY starts to leave, but is blocked in by COPS. HE turns to find the DELANCEY BROTHERS behind
HIM.)

CRUTCHY
Hiya boys!

OSCAR
Hey!
(THEY knock HIS crutch aside and drag HIM away. DENTON has been watching all of this. The courtyard is
suddenly dead quiet, except for the rustling of newspaper scraps in the breeze. Slow blackout.)

57
Scene Fourteen

(David’s Apartment. Night. The Sun is on the table; the headline reads "Newsies in Revolt." DAVID faces down
ESTHER'S fury as MAYER, sympathetic, supports HIS wife. LES watches. SARAH sews, listening.)

DAVID
(angrily)
I can't get another job! They're depending on me.

ESTHER
Your family is depending on you!

DAVID
They're trying to cheat us!

MAYER
You're children! What do you know about making a union?

DAVID
What I learned from you.

ESTHER
And look what happened to him!

DAVID
I'm a Newsie, mom! The Newsies are on strike, so I'm on strike. That's what father taught me. And that's what I'm
going to do!
(ESTHER impulsively strikes DAVID across the face and instantly regrets it. DAVID is shocked. Then HE turns
and walks to a corner of the apartment to get away from ESTHER. ESTHER turns and looks at LES.)

ESTHER
(to LES)
From now on, you stay home.
(to MAYER, softly as SHE begins to cry)
God help us, Mayer, he's just like you...He thinks he can change the world.

MAYER
(HE comforts HER)
Maybe he can.

Proud of Your Boy

DAVID
(HE turns from the corner and looks at ESTHER)
PROUD OF YOUR BOY
I'LL MAKE YOU PROUD OF YOUR BOY
BELIEVE ME, BAD AS I'VE BEEN, MA
YOU'RE IN FOR A PLEASANT SURPRISE

(HE slowly begins to make his way across the room to HER)
I'VE WASTED TIME
I'VE WASTED ME
58
SO SAY I'M SLOW FOR MY AGE
A LATE BLOOMER, OKAY, I AGREE…

THAT I'VE BEEN ONE ROTTEN KID
SOME SON, SOME PRIDE AND SOME JOY
BUT I'LL GET OVER THESE LOUSIN' UP
MESSIN' UP, SCREWIN' UP TIMES

YOU'LL SEE, MA, NOW COMES THE BETTER PART
SOMEONE'S GONNA MAKE GOOD
CROSS HIS STUPID HEART
MAKE GOOD AND FINALLY MAKE YOU
PROUD OF YOUR BOY

TELL ME THAT I'VE BEEN A LOUSE AND LOAFER
YOU WON'T GET A FIGHT HERE, NO MA'AM
SAY I'M A GOLDBRICK, A GOOD-OFF, NO GOOD
BUT THAT COULDN'T BE ALL THAT I AM

WATER FLOWS UNDER THE BRIDGE
LET IT PASS, LET IT GO
THERE'S NO GOOD REASON THAT YOU SHOULD BELIEVE ME
NOT YET, I KNOW, BUT…

SOMEDAY AND SOON
I'LL MAKE YOU PROUD OF YOUR BOY
THOUGH I CAN'T MAKE MYSELF TALLER
OR SMATTER OR HANDSOME OR WISE

I'LL DO MY BEST, WHAT ELSE CAN I DO ?
SINCE I WASN'T BORN PERFECT LIKE DAD OR YOU
MOM, I WILL TRY TO
TRY HARD TO MAKE YOU
PROUD OF YOUR BOY.
(SARAH hears a tapping, looks up and sees JACK at the window. SHE quietly goes to HIM and opens the
window)

SARAH
(whispering)
Do you know what time it is?

JACK
(whispering)
I ain't got a watch.
(DAVID stirs, sees JACK and comes to the window)
The Warden's got Crutchy.
(DAVID stares at JACK, not comprehending)
You hear me?

DAVID
Yes…but what can we do?

59
JACK
Get 'em out. Come on.
(DAVID and JACK exit down the fire escape. Blackout.)
60
Scene Fifteen

(It is night. We are now outside the House of Refuge. This is the city prison for children. The building is a
somber structure, enclosed by a brick wall with an iron gate. Carrying a rope and a small crowbar, JACK and
DAVID stand across the street in the shadows. JACK'S face reveals the trauma of HIS years inside those walls.)

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

DAVID
How can you be sure they sent him here?

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

DAVID
So how come you brought the rope?
(THEY are about to sneak toward the wall when the gate opens and SNYDER and ANOTHER MAN exit and
walk towards THEM. THEY pull back into the shadows. SNYDER walks right past then down the street. DAVID
glances at JACK, shaken by the close call. JACK pulls HIMSELF together and leads DAVID to the side of the
wall. Once at the wall, DAVID makes a stirrup by intertwining HIS fingers. JACK steps into HIS hands and
starts to climb up to HIS shoulders.)
If we get caught, everything's ruined.

JACK
I ain't leaving'm in there.
(HE stands on DAVID'S shoulder, grabs a spike at the top of the wall, throws the rope up and pulls HIMSELF
up. The set for Tibby’s Restaurant turns around to reveal another [much smaller] boarding area. JACK is now
standing behind the wall pretending to be hoisted high in the air. Inside the Refuge, many bunks are crammed
into a dark room. JACK, outside hanging from the rope, calls softly through the open window to an INMATE, 9,
who lies awake.)
Hey!
(the INMATE’S eyes bulge, seeing JACK floating outside the window.)

INMATE
Cowboy. You can fly?

JACK
It's a rope, kid. Crutchy in there?
(the BOY nods)

INMATE
The gimp? I’ll get him for ya.
(HE jumps out of bed and runs off. JACK works at the bars with HIS crowbar. CRUTCHY and the INMATE
return. CRUTCHY battered in body and spirit, looks sickly. HE leans against the bed. JACK sees HIM.)

CRUTCHY
You shouldn't have come here, Jack. Snyder's askin' about ya.

JACK
61
Don't worry about me. Come on. You're checking out. Kloppman's savin' your bunk.

CRUTCHY
I'm staying.

JACK
You can't live in this hole, Crutch. It's worse than the street.

CRUTCHY
Truth is, Jack, I ain't got the heart for the fight no more.
(THEY lock eyes)
We're getting too old to be hawking fish wrappers. You ought to go west like you always say.
(smiles through pain)
They still talk about ya breakin' out of here on TR's coach.
(JACK, upset, stares. CRUTCHY touches JACK’S hand under the window. SNYDER opens the door and begins
to walk in.)
Hey! Cheese it!
(HE inspects the room. JACK swings to the side, out of site. As SNYDER is about to look out the window,
CRUTCHY grabs HIS arm.)
Mr. Warden Snyder, sir. You know, I was thinking. I’d just like you to know that when you were taking a nap this
afternoon…
(CRUTCHY leads SNYDER away from the window adlibbing as THEY both leave the room. The set revolves
back to its original position. DAVID waits in an alley across from the wall. JACK walks towards him. DAVID
sees the dark mood HE is in as HE gets closer. JACK never stops, as HE moves past DAVID…)

JACK
He's staying.
(JACK keeps going and DAVID runs to catch up to HIM. Segue to next scene.)
62
Scene Sixteen

(We are now in Newsie Square. It is later that same night. DAVID and JACK sit staring into the deserted
courtyard.)

JACK
When I got sent up, me and this kid, like Les, but younger, we busted out. Teddy Roosevelt was Police Commissioner
then. He was goin' around…
(slowly, blue lights come up behind DAVID and JACK. The curtain opens to reveal a ballet [or reenactment] of
the story JACK is telling. It is the courtyard at the House of Refuge. It is daytime. All the BOYS are lined up in
the courtyard for an inspection by TEDDY ROOSEVELT. SNYDER stands proudly with HIS STAFF, watching
the proceedings.)
…inspectin' prisons. Snyder had us all lined up in the courtyard like good little soldiers. Me and this kid sneaked onto
the roof of Roosevelt's carriage…
(we see JACK and THE KID climbing onto the carriage and ride out through the gates, to the cheering of the
BOYS.)
…and rode on out. When we cleared the gates we stood up and waved to Snyder. He went crazy. The kids were
cheering us. Roosevelt thought they was cheerin' for him.
(the lights suddenly go to black on the ballet. JACK smiles, thinking about the past. DAVID watches HIM.)
The reporters loved it…made all the papes.

DAVID
What happened to the kid?

JACK
He died…about a year later. Snyder spotted us on the street one day, started chasin' us. I hopped a wagon. I pulled him
up next to me. The kid…we was laughin', even…he slipped and got caught in the spokes of the wheel. I seen it happen
a dozen times. Snyder got into trouble all over again.
(DAVID watches JACK struggle with the story.)
He was a good kid. We sold a lot of papes. I was just teachin' him to read the headlines.

DAVID
What was his name?
(JACK looks at him sharply, defenses rising again.)

JACK
What's the difference?
(JACK stands and walks off. DAVID follows. Segue to next scene.)
63
Scene Seventeen

(The next morning. PULITZER, WEASEL and SEITZ are inside PULITZER’S office.)

SEITZ
I don’t think they’re just going to go away, Chief.

WEASEL
Mr. Pulitzer, sir, just give me the means and I’ll take care of them for ya.

PULITZER
I’ll give you whatever means you require. I want this nonsense done with once and for all.

SEITZ
Chief…

PULITZER
Shut you mouth, Seitz
(WEASEL and SEITZ leave. SNYDER looks out the window to the square where the NEWSIES have gathered.
Immediate segue.)
64
Scene Eighteen

(Newsie Square. Same time of day. JACK, BOOTS and DAVID join the gathering NEWSIES, who carry signs
proclaiming, "Don't Buy World" and "I Ain't a Scab.")

NEWSIES
OPEN THE GATES AND SEIZE THE DAY
DON’T BE AFRAID AND DON’T DELAY
NOTHING CAN BREAK US
NO ONE CAN MAKE US
GIVE OUR RIGHTS AWAY
ARISE AND SEIZE THE DAY
(The BOYS dance in the square and block the entrance to the World building.
A delivery cart rushes through. The NEWSIES and SCABS have another stand off.)

DAVID
Alright. Everyone remain calm.

JACK
Let’s soak ‘em for Crutchy!
(The NEWSIES attack. The SCABS are inundated by the onslaught of little bodies. THEY drop THEIR papers to
flee, but there is nowhere to run, because from behind the wagons WEASEL leads HIS THUG ARMY into battle.
The MEN form a circle around JACK so none of the NEWSIES can help HIM. The gates shut and DENTON
can’t get in to help.
OSCAR
Heya Jacky-boy
(JACK faces a MAN with a chain. Outside, DENTON tries to get in. A NEWSIE gets cracked on the head and
falls, bloody. The NEWSIES fight desperately, but they don't have a prayer against the armed ADULTS. DAVID
leaps onto the upraised arm of a THUG, pulling HIM down with a crash. HIS rage takes over, and HE punches
again and again at the MAN’S face. HE rises, looks at HIS bloodied hand as if it were a foreign object. JACK
manages to jam a club through the spokes of a wagon wheel, stopping the convoy again. HE dodges a blow
from the DRIVER, grabs HIS arm and pulls HIM off the wagon. HE steps on the fallen DRIVER, climbing over
HIM onto the wagon. From this height, JACK sees a chaos of battles. WEASEL climbs atop the lead wagon,
sorting HIS MEN to crush the NEWSIES. The wagons are starting to roll again.)

DENTON
(to a POLICEMAN)
Aren’t you going to stop them, sir?

POLICEMAN
Move along, mister.
(just as all hope seems lost for JACK, a bunch of NEWSIES appear on the rooftops, including SPOT.)

JACK
(JACK shouts to DAVID over the din.)
They're killing us.
(DAVID turns, sees something and grins.)

DAVID
Seize the Day (Reprise)
65
Look!
(JACK turns and sees what DAVID is referencing.)

SPOT
Never fear, Brooklyn is here.
(HE grabs onto a rope that is hoisted from the top of one of the corners of the theatre and glides down to the
stage.)

MUSH
It’s Brooklyn!
(the NEWSIES begin soaking the CRIB again, the BROOKLYN BOYS using THEIR sling shots. RACETRACK
throws HIS hands in the air and sit on a ledge…)

RACETRACK
Hey, I give up. Alright, alright. I give up.
(HE kicks a nearby GUY in the crotch)

JACK
Hey, Spot!
(there is mass pandemonium as we see each of the NEWSIES punching the SCABS. First RACETRACK, then
JACK, KID BLINK and another. SKITTERY gets hit and falls back. NEWSIES catch HIM.)

DAVID
(to SKITTERY)
Are you alright?
(before HE can answer, the NEWSIES push HIM back up and HE punches the MAN back. SPOT opens the
gates and the BROOKLYN GANG join. THEY force the CRIB back. The NEWSIES cheer and tear some more
papers. DENTON enters with HIS camera. HE takes HIS same place from ‘Prologue B.’ During DENTON’S
next line, the scrim closes quickly and the NEWSIES take THEIR ‘Prologue B’ place behind the scrim.)

DENTON
Jack! Boys! Freeze! Freeze!

JACK
Alright guys
(DENTON takes the picture. Once again, there is a blinding flash from DENTON’S camera. At the same time,
bright white lights come up behind the scrim. The lights should be as far back as possible as to not light any of
the NEWSIES from the front. A silhouette is created and shows the NEWSIES frozen in a set pose. Also, ‘New
York Sun’ should be projected onto the scrim along with a headline that reads: ‘The Children’s Crusade;
Newsies Stop the World’. The lights slowly fade to black. End of Act One.)
66
NEWSIES
ACT TWO

(During Intermission, the scrim is to remain closed. Any set pieces or props not being used in the second act
can be stuck from the stage completely. Perhaps taken to another room so there is not as much clutter
backstage. Any remaining set pieces should be dressed accordingly. The scrim should remain lit and
continually have newspapers projected onto it.)

Scene One

(The scrim opens to reveal Tibby’s Restaurant. It is later the same day [from the end of Act One]. There is a
newspaper behind DENTON'S back. HE carries it to a table where the BOYS have coffee. DENTON proudly
hands the paper to DAVID. DAVID’S face bruised from the day's fighting, reads. Around the table sits JACK,
SPOT, RACTRACK, BOOTS, and OTHERS...all waiting for DAVID'S take on the article.)

DENTON
Hey fellas. Hey, hey! Big time.

BOOTS
What you got there, Dave?

SPOT
Where’s me picture? Where’s me picture?

BOOTS
What’s that? That all about us?

MUSH
Look at that Jack. You look like a gentleman.

JACK
Will you get your fingers off me face?

SPOT
Where does it say my name? Where’s my name?

JACK
Will you quit thinking about yourself?

DAVID
Front page boys! Listen.
(as HE reads)
‘The infant newsboys union crushed the twin titans of the press today in a strike battle that will go down in labor
history…’

OWNER
(hands ice in a towel to BOOTS)
Put that on his face, it will keep the swelling down.
(as BOOTS holds it to DAVID'S cheek, JACK grabs the paper.)

JACK
67
(reads)
‘Led by enigmatic street boy, Jack Kelley, with his red bandana and golden tongue…’
(looks up)
My own paragraph.
(to DENTON)
You describe me good, but…
(serious)
When do I get a headline, like "Kelley Sparks Newsies?"
(the BOYS bombard JACK and HIS ego, putting HIM in HIS place. JACK smiles)

DAVID
You got us on the front page!

DENTON
You got yourselves on the front page. I just got to make sure you stay there.

SKITTERY
So what? You get your picture in the papes, so what’s that get you, huh?

MUSH
What are you talkin’ about?

JACK
Shut up, boy. You've been in a bad mood all day!

SKITTERY
I’m not in a bad mood!

RACETRACK
Glum and dumb. What’s the matta with you? You get your picture in the papes, you’re famous. Your famous, you get
anything you want. That’s what so great about New York!

MUSH
A PAIR OF NEW SHOES WITH MATCHING LACES

RACETRACK
A PERMANENT BOX AT SHEEPSHED RACES.

SPOT
A PORCELAIN TUB WITH BOILING WATER

KID BLINK
A SATURDAY NIGHT WITH THE MAYOR’S DAUGHTER!

RACETRACK
LOOK AT ME
I’M THE KING OF NEW YORK!
SUDDENLY
I’M RESPECTABLE
King of New York
68
STARING RIGHT ATCHA
LOUSY WITH STATURE

JACK
NUBBIN’ WITH ALL THE MUCKETY-MUCKS
I’M BLOWIN’ MY DOUGH AND GOIN’ DELUXE!

RACETRACK
AND THERE I’LL BE
AIN’T I PRETTY?

RACETRACK & JACK
IT’S MY CITY
I’M THE KING OF NEW YORK!

BOOTS
A CORDUROY SUIT WITH FITTED KNICKERS

LES
A MEZZANINE SEAT TO SEE THE FLICKERS

SNIPESHOOTER
HAVANA CIGARS THAT COST A QUARTER

DAVID
AN EDITOR’S DESK FOR OUR STAR REPORTER!


NEWSIES
TIP YOUR HAT
HE’S THE KING OF NEW YORK!

DENTON
HOW ‘BOUT THAT?
I’M THE KING OF NEW YORK!

NEWSIES
IN NOTHING FLAT
HE’LL BE COVERING
BROOKLYN TO TRENTON
OUR MAN DENTON

KID BLINK
MAKING A HEADLINE OUT OF A HUNCH

DENTON
PROTECTING THE WEAK

RACETRACK
AND PAYING FOR LUNCH

DENTON
69
WHEN I’M AT BAT
STRONG MEN CRUMBLE

RACETRACK
PROUD YET HUMBLE

DENTON
I’M THE KING OF NEW YORK
RACETRACK
HE’S THE KING OF NEW YORK

NEWSIES
I GOTTA BE EITHER DEAD OR DREAMING
’CUZ LOOK AT THAT PAPE WITH MY FACE BEAMING
TOMORROW THEY MAY WRAP FISHES IN IT
BUT I WAS A STAR FOR ONE WHOLE MINUTE!

(dance)

STARTING NOW
I’M THE KING OF NEW YORK!

DENTON
AIN’T YOU HEARD?
I’M THE KING OF NEW YORK!

NEWSIES
HOLY COW!
IT’S A MIRACLE
PULITZER’S CRYING
WEASEL? HE’S DYING!

FLASHPOTS ARE SHOOTING BRIGHT AS THE SUN
I’M ONE HIFALUTIN’ SON OF A GUN!
DON’T ASK ME HOW
FORTUNE FOUND ME
FATE JUST CROWNED ME
NOW I’M KING OF NEW YORK!

LOOK AND SEE
ONCE A PIKER
NOW A STRIKER
I’M THE KING OF NEW YORK!

VICTORY!
FRONT PAGE STORY
GUTS AND GLORY
I’M THE KING OF NEW YORK!
(the NEWSIES cheer and gather around the table)

JACK
So, let’s have some ideas.

DAVID
70
Well, we gotta show people where we stand

JACK
Yeah, so we gotta stay in the papes.

DENTON
My paper’s the only one printing any strike news so far

JACK
So, we should do something that’s so big the other papers’ll feel stupid if they try to ignore us.
(a beat)
Like a rally. A Newsie rally with all the kids from all over New York. It’ll be the biggest, loudest, nosiest blowout this
town’s ever seen!
DAVID
We’ll send a message to the big boys.

RACETRACK
(clasping HIS fist)
Yeah, I’ll give ‘em a message.
(a WAITER brings a tray of drinks. Each NEWSIE grabs a glass.)

JACK
There’s a lot of us, and we ain’t going away. We’ll fight until damn Doomsday if it means we get a fair shake.

DAVID
Hey, guys.
(raising HIS glass)
To our man Denton.

NEWSIES
Our man Denton!
(the NEWSIES lift THEIR glasses in a toast. Tibby’s Restaurant revolves as we segue to the next scene.)
71
Scene Two

(the set has revolved to the side where the Refuge is facing out. We are now in Snyder’s office. SNYDER is
reading the same issue of the Sun late that night. CRUTCHY knocks on SNYDER’S door and enters.)

CRUTCHY
Heya Mr. Snyder. How was your supper?
(as HE begins to put the plates on a tray, CRUTCHY notices SNYDER looking at the paper, particularly at
JACK’S picture.)
Hey! That’s Jack. He looks just like himself.

SNYDER
(looking up from the paper)
You know this boy?

CRUTCHY
No.

SNYDER
You have a very famous friend, this Jack. Do you know where he lives?

CRUTCHY
I never heard of him, honest! It’s this brain of mine, it’s always making mistakes. It’s got a mind of its own.
(HE begins to make HIS way out of the room)
Can I get you anything else, Mr. Snyder?
(no answer)
Good bye, Mr. Snyder.
(CRUTCHY leaves, realizing HIS mistake. Segue to next scene.)
72
Scene Three

(The Lodging House door has now been brought on. The NEWSIES are sitting on the ground making signs for
the rally. DUTCHY’S sign says ‘STRIKE’. KLOPPMAN observes.)

DUTCHY
So, did I spell it right, Kloppman?

KLOPPMAN
Very good, very good.
(SNYDER enters and starts to go up to the door)
Excuse me. Can I help you?

SNYDER
You have a boy who calls himself Jack Kelly. I wish to see him.

KLOPPMAN
Jack Kelly? Never heard of him. Never heard of him. Any of you boys ever hear of a Jack Kelly?

SPECS
That’s an unusual name for these parts.
(JACK comes out of the door, but SWIFTY stops HIM and points SNYDER out to HIM)

RACETRACK
Oh, you mean Jack Kelly. Yeah, he was here, but he put an egg in his shoe and…beat it.
(some of the BOYS laugh at RACETRACK’S remark)

SNYDER
I have reason to believe he’s an escaped prisoner, possibly dangerous.

KLOPPMAN
Oh, dangerous? I better look in my files. This way please.
(KLOPPMAN distracts SNYDER and JACK exits. The BOYS hold up signs to hide HIM)

RACETRACK
Give to the Newsies Strike fund, Mister?
(SNYDER hands RACETRACK a coin. KLOPPMAN and SNYDER exit through the Lodging House door.
Segue.)
73
Scene Four

(We are now on the street. It is midday. DAVID, JACK, RACE, BOOTS, SPOT and other LEADERS search the
paper for Newsie coverage.)

JACK
They keep moving us back. Now they got us on page twelve under the Parker the Painless Dentists ads. Where's
Denton when you need him?

SPOT
Why don't they like us no more?

BOOTS
They're tired of us.

DAVID
They're not. We've got Newsies all over the country with us. We've got to stay in the headlines or we're dead. People
forget real fast.

JACK
We could blow something up. I know a guy with dynamite...

DAVID
Be serious.

JACK
I was.
(DAVID walks off)
What we need is a party, everybody's depressed.

DAVID
(turns, an idea)
That's it. A rally. We'll lift their spirits. That's what my father's union would do, they'd rent a hall.

JACK
(cutting him off)
Irving Hall. We'll fill it with Newsies from all over the city. That'll make news.

BOOTS
Where do we get the money?

JACK
How much could it be?

DAVID
Lots.

RACETRACK
We took a collection.

DAVID
There's fifty cents left.
74
(the BOY'S enthusiasm levels out.)

JACK
(a beat)
I'll get the money.
(THEY all look at HIM)
And I'll get Irving Hall. But we've got to get the word to all the Ward leaders.
(JACK sees a BICYCLE MESSENGER going uptown and whistles. The MESSENGER sees JACK, turns and
comes back.)
How far you going up?

MESSENGER
The Bronx.

JACK
Spread the word. Big rally. Irving Hall. Sunday night.

MESSENGER
I'll pass it along.
(as HE pedals away, HE yells over HIS shoulder)
Carryin' the banner!

JACK
Carryin' the banner!
(blackout. Slow segue.)
75
Scene Five

(The curtain opens. We are now in David’s Apartment. It is morning. JACK is asleep on the fire escape
unbeknownst to the FAMILY. LES helps ESTHER and SARAH with their piecework. MAYER reads aloud from
the Sun. The headline reads: "Newsies Strike Spreads!" DAVID sits listening)

MAYER
Listen! "Newsie co-leader David Jacobs claims the lads will win easily. The strike has spread like wildfire to every city
served by the Hearst and Pulitzer papers including all of New Jersey and scattered areas from Massachusetts to as far
away as Kentucky…
(LES throws down HIS piecework in disgust at being stuck at home while MAYER continues to read aloud from
the Sun. Headlines read: "Newsies Holding Firm." and "Hearst, Pulitzer Hurting.")
…Circulation is down at least 70 percent and advertisers are...
(HE smiles, proud of HIS boys. HE continues to read)
...demanding refunds. The strike was sparked by a price hike.
(as HE finishes, SARAH notices JACK’S body on the fire escape. SHE goes to the window and opens it and
begins talking to JACK. He looks cold and disheveled.)

SARAH
Did you sleep out there all night?

JACK
(slowly waking up)
Yeah.

SARAH
Why didn’t you wake us up?

JACK
Well, I didn’t want to disturb nobody. Besides, it’s like the Waldorf out here. Great view. Cool air.
(THEIR eyes meet)
David up?

SARAH
Yeah, you want to come in?

JACK
I'll wait out here.
(SHE pulls a roll from HER pocket and eats. JACK watches HER out of the corner of HIS eye. SHE tears off a
piece and hands it to HIM. JACK, proud, won't take it.)
I ain't hungry.

SARAH
Don't be foolish. Of course you are.

JACK
Yeah.
(JACK takes it and eats. Long silence. JACK'S uncomfortable.)

SARAH
I love the quiet, this time of morning. The city can be so oppressive sometimes…so ugly.

76
JACK
I could show you places, make your eyes pop out.

SARAH
What places?
(SARAH watches HIM as HE talks, seeing another side.)

JACK
Places I go…places I seen…beautiful places.

SARAH
(THEIR eyes meet. A beat.)
Papa’s so proud of you and David. You should hear him talking about Jack Kelly, strike leader, who occasionally takes
his meal with us.

JACK
Well, this is one strike leader who’s gonna be very happy when it’s all over and I can get outta here and go to Santa Fe.
I mean, there’s nothing for me to stay for, is there?
(SHE does not answer)
You know, you should see Santa Fe, everything’s different there. It’s all bigger. The desert, the sky, the sun.

SARAH
(coldly)
It’s the same sun as here.

JACK
Yeah, it just looks different.

SARAH
I should get ready for work.
(DAVID and LES come to the window and mount the fire escape. JACK turns, sees THEM, and jumps up.)

DAVID
You look horrible.
(SARAH watches THEM as THEY walk off. LES takes JACK'S hand.)

JACK
(The BOYS go to the auditorium floor in front of the stage [the street].)
You know Dave; I'm usually smarter than everybody I know.

DAVID
(joking with HIM)
Then you met me.
(JACK smiles)
And you'll never be the same.

JACK
If you were me for one day you'd never want to be you again.
(DAVID grins. Long pause as they look at the morning.)
It's strange, seeing your name in the papes, ain't it?

DAVID
77
(nods)
Like you were just born, or something.

JACK
(impressed with DAVID)
Yeah…that's it.
(looks at HIM)
I gotta admit, I like it. How about you?
(DAVID nods again.)
How long will this strike last?

DAVID
It depends on the kids. The first week was fun. But the longer it goes, the harder it gets. We’re not getting the press we
did before.
(JACK nods)
We won't be real popular when this is over. No matter who wins, somebody'll be angry.

JACK
I don't care. Feels good right now. If I never do anything else the rest of my life, at least I got my name in the papes.
And Pulitzer knows who I am.
(pauses)
We're hurtin' him, ain't we?

DAVID
Yes…but we can't rest on our laurels. He's a very powerful man.

JACK
What can he do to us?

DAVID
Whatever he wants.
(segue to next scene)
78
Scene Six

(PULITZER is in HIS office with the MAYOR, the POLICE CHIEF, SNYDER and SEITZ. HE is looking at the
paper and has JACK’S face circled.)

MAYOR
Of course, the city is very concerned that this event doesn’t get out of hand. But…Chief?

CHIEF
We can’t just charge in there and break it up, Mr. Pulitzer. We’ve got no legal cause.

MAYOR
Legal cause.

PULITZER
Would the fact that this rally is organized by an escaped criminal be cause enough, mayor?

MAYOR
Escaped criminal?

PULITZER
A fugitive from one of your prisons, mayor. A convicted thief. Been living at large for some time under the alias of
Jack Kelly. What’s his real name?

SNYDER
Sullivan. Francis Sullivan. Your honor. I would have caught him before now, but…

PULITZER
You know Warden Snyder, don’t you mayor? I believe you know him because you appointed him.

MAYOR
Yes. Well, if this boy’s a fugitive then the chief can quietly arrest him.

PULITZER
No, no, no, no! Not quietly! Not quietly! I want an example made. I want this rabble he’s roused to see what happens to
those who would dare to lead. They should see justice and action.

MAYOR
Arrest him at the rally?
(segue to next scene)
79
Scene Seven

(We are now in Irving Hall. JACK, DAVID, SARAH and LES move through the NEWSIES in the lobby, shaking
hands, joking, dodging friendly punches. We hear a band playing a raucous music hall number. The NEWSIES
go wild, cheering, hanging from the rafters. The hall is jammed beyond capacity. Shouting NEWSIES perch on
every available surface: railings, window sills and the shoulders of THEIR fellows. FAT MAX and SARAH
stand nearby, clapping.)

JACK
Some turnout, huh, Denton?

DAVID
Will it get us on the front page?

DENTON
It should, it deserves it.

DAVID
But it won't...

DENTON
I don't place the articles. All I do is write them.
(the BOYS are disappointed)
They're putting pressure on everyone. Stop the violence. You're playing into their hands.
(DAVID looks at JACK to see if the message was received. DAVID and JACK step away from DENTON.)

JACK
I can't tell 'em to stop soaking scabs. It rubs me the wrong way.

DAVID
Don't be ridiculous. Violence begets violence.

JACK
(misunderstanding)
And whose fault's that?

DAVID
(shakes HIS head)
It has to stop. We need the city on our side...the people...the papers.
(JACK sees HIS point)
Tell 'em, Jack. They'll listen to you.
(JACK thinking, looks across the stage and sees LES jumping around waving HIS hands, standing next to
SARAH. DENTON comes up behind THEM. JACK turns and sees HIM. JACK looks from DENTON to DAVID
then over at SARAH and LES, making up HIS mind. HE hitches up HIS pants and walks out to center stage. The
CROWD erupts. HE moves down front and waits for the THEM to quiet down. DAVID to DENTON.)
You taking notes?
(DENTON smiles and takes out HIS pad. DENTON and DAVID exit the stage. JACK, center stage, basking in
the adulation, turns back and looks at SARAH and LES. Letting THEM share in HIS experience. JACK turns
and raises HIS arm for silence. THEY quiet.)

JACK
Bummers, Snoozers, Newsies and citizens of New York City! Welcome to the rally!
80
(the BOYS cheer)
Havin' a good time?
(THEY cheer again)
Carryin' the banner!
(the NEWSIES echo the call. JACK yells out again.)
Carryin' the banner!
(THEY repeat)
It's time I talk to you a little. Me and David...
(looks to wings)
Come out here Dave, show'm your face.
(DENTON pushes HIM out. The KIDS cheer. DAVID takes a bow, raising HIS hand.)
We thought it was time for you fellas to get together and get to know each other...and have a good time.
(the BOYS howl. JACK does a shuffle step. The KIDS roar.)
So, we’ve come a long way, but we ain’t there yet and maybe it’s only gonna get tougher from now on. But that’s fine,
we’ll just get tougher with it. But also, we gotta get smart and start listening to my pal David, who says ‘stop soakin’
the scabs’.

RACETRACK
What are we supposed to do to the bums? Kiss ‘em?

SPOT
Any scab I see I soak ‘em. Period.

DAVID
No, no. That’s what they want us to do. If we get violent, it’s just playing into their hands.

SPOT
Hey, look. They’re gonna be playing with my hands, alright. ‘Cuz it ain’t what they say, it’s what we say. And nobody
ain’t gonna listen to us unless we make ‘em.
(NEWSIES in the crowd take different sides and start to argue.)

JACK
You got no brains. Why we starting to fight each other? It’s just what the big shot’s wanna see. That we’re street rats!
Street rats with no brains. No respect for nothing, including ourselves! So, here’s how it’s gonna be. If we don’t act
together, then we’re nothing. If we don’t stick together, then we’re nothing. And if we can’t even trust each other, then
we’re nothing.

KID BLINK
Tell ‘em Jack!

JACK
So, what’s it gonna be?

RACETRACK
We’re with you Jack.

JACK
So, what about you, Spot?

SPOT
I say that what you say is what I say.
(All the NEWSIES cheer. The curtains open and MEDDA enters. The cheering gets louder.)
81

MEDDA & NEWSIES
HIGH TIMES, HARD TIMES
SOMETIMES THE LIVING IS SWEET
AND SOMETIMES THERE’S NOTHING TO EAT
BUT I ALWAYS LAND ON MY FEET
SO WHEN THERE’S DRY TIMES
I WAIT FOR HIGH TIMES AND THEN
I PUT ON MY BEST
AND I STICK OUT MY CHEST
AND I’M OFF TO THE RACES AGAIN!

MEDDA
Hello, Newsies. What’s new?

SO YOUR OLD LADY DON’T LOVE YOU NO MORE
SO YOU’RE AFRAID THERE’S A WOLF AT YOUR DOOR
SO YOU’VE GOT STREET RATS THAT SCREAM IN YOUR EAR

MEDDA & NEWSIES
YOU WIN SOME, YOU LOSE SOME
MY DEAR ,OH…
HIGH TIMES, HARD TIMES
SOMETIMES THE LIVING IS SWEET
AND SOMETIMES THERE’S NOTHING TO EAT
BUT I ALWAYS LAND ON MY FEET
SO WHEN THERE’S DRY TIMES
I WAIT FOR HIGH TIMES AND THEN
I PUT ON MY BEST
AND I STICK OUT MY CHEST
AND I’M OFF TO THE RACES AGAIN

MEDDA
I PUT ON MY BEST!

NEWSIES
I PUT ON MY BEST!

MEDDA
AND I STICK OUT MY CHEST

NEWSIES
AND I STICK OUT MY CHEST

MEDDA
AND I’M OFF

NEWSIES
AND I’M OFF

MEDDA
High Times, Hard Times
82
AND I’M OFF

NEWSIES
AND I’M OFF

MEDDA
AND I’M OFF

ALL
TO THE RACES AGAIN!
(SNYDER, MCSWAIN and TWO COPS enter and bully past FAT MAX. None of the NEWSIES notice. The
NEWSIES howl as the number concludes. JACK quiets them.)

JACK
Let me say something about them wagon drivers that got "done up" on Madison last night.
(the BOYS cheer)
I don't believe in fightin' no more.
(the BOYS "BOOOOOOOOOO" their displeasure. DAVID sees SNYDER, MCSWAIN and TWO COPS. THEY
split up; SNYDER and ONE COP on one side of the stage and MCSWAIN and the OTHER COP on the far side.
HE yells a warning to JACK.)

DAVID
Jack! Jack!
(JACK doesn't hear HIM)

NEWSIE
It was you leadin' us!

JACK
I'll admit it: I was one of the boys that soaked 'em. But I've had a change a heart. It ain't right no more.
(the NEWSIES murmur. DAVID has no choice but to walk out slowly and stand next to JACK. JACK looks at
DAVID, sees the panic in HIS eyes.)

DAVID
Look in the wings.
(JACK turns and sees MCSWAIN on one side and SNYDER on the other. HE’S trapped.)
What do we do now?

JACK
Close the show.
(THEY exchange a look. Then JACK faces the BOYS.)
It’s up to you.
(BOYS laugh)
But we'll win more people to our side with a good story in the Sun, like we're sure to get after tonight, than we'd ever
get by bangin' them scabs around.
(SOME BOYS applaud the sentiment.)
And you save the wear and tear on your knuckles.
(the BOYS laugh)
Thanks for listening! See you at the gates bright and early tomorrow! Save your money...don't buy ice cream!
(big applause. JACK makes a quick bow then takes off running and leaps off the stage, leaving DAVID alone.
The BOYS gasp as one. JACK lands among the BOYS, gets up and as THEY clear a path, HE sprints to the back
door. SNYDER
83



and a COP appear, going after JACK. The BOYS see SNYDER and yell HIS name, "SNYDER!" DAVID turns
and tackles SNYDER as HE tries to pass. The NEWSIES cheer. MCSWAIN and the OTHER COP come to HIS
aid, pulling DAVID off HIM.)

SNYDER
(to MCSWAIN)
Arrest him!
(OTHER NEWSIES run with JACK as HE tries to exit. Suddenly SNYDER and the COPS burst through the
CROWD and grab JACK, roughing HIM up. The NEWSIES go wild. A Melee erupts. In a stylized,
expressionistic dance of violence, we see:

A. JACK breaks free of the COPS.
B. The POLICE swing long billy clubs as they cut through the CHILDREN.
C. The CHILDREN try to flee but are too densely packed. The long
nightsticks connect again and again.
D. The POLICE step high to avoid the fallen.
E. WEASEL leads a squad of club-wielding THUGS, mowing through the
NEWSIES like farmers with scythes.
F. The POLICE capture many NEWSIES.
G. DENTON, his face registering the horror of the scene, stands in the
back crying; trying to take a picture of the violence. HE is stopped by SEVERAL BURLY COPS.
H. JACK is grabbed by the COPS and carried off, twisting and kicking.
I. MAYER, ESTHER, LES and SARAH watch, helplessly.
J. MCSWAIN drags DAVID away from the riot.

During all of the previous, the following should also occur)

MEDDA
(RACETRACK gets MEDDA to safety and starts to leave)
No! Stay with me!
(A huge MAN kicks RACETRACK in the stomach and punches HIM out. MEDDA breaks away from HER MAID
and BODYGUARD and slaps the MAN)
No! No! For God’s sake! He’s just a child! Can’t you see that? Racetrack!
(MEDDA is pulled back and RACETRACK is dragged away. KID BLINK gets hit with a club and is dragged
away.)

MCSWAIN
(after part J of the previous section)
I'm too soft for my own good.
(lets DAVID go)
Now go on, get out of here.
(DAVID looks at HIM dumbly. Tears streak HIS face. As JACK is taken out, the remaining few of the cast leave
the stage. LES runs up to DAVID. SARAH and ESTER cry on MAYER’S shoulders. DAVID and LES survey the
wreckage of the riot, broken sticks, newspapers, hats. HE pauses over a bloody shirt.)

DENTON
(out of sight)
I'm sorry, kid.
(DAVID holding a Sun paper in HIS hand looks up, sees DENTON)
84
Pulitzer and Hearst cut a deal with the Sun. No headlines. Nothing about the rally.
(DAVID angry, stares)
I quit.

DAVID
Kids get massacred in the streets and that's not news?
(DENTON looks away)
Can we go to another paper?

DENTON
No paper in town'll hire me.

DAVID
They got Jack.

DENTON
They got us all, kid. C'mon.
(HE puts an arm around DAVID'S shoulder. DAVID takes LES’S hand. MAYER puts HIS arms around ESTER
and SARAH. ALL walk off. Blackout.)
85
Scene Eight

(The lights come up on a court already in sessions. JUDGE CRANE'S courtroom is crowded with NEWSIES.
CRANE, 65, is a desiccated man with a knack for speedy injustice.)

CRANE
Are any of you boys represented by council?
(no answer)
No? Good, that will move things along considerably.

SPOT
Hey, your honor, I object!

CRANE
On what grounds?

SPOT
On the grounds of Brooklyn, your honor.
(the NEWSIES crack up laughing. CRANE bangs on HIS desk.)

CRANE
I fine each of you five dollars, or two weeks confinement in the House of Refuge.

RACETRACK
Whoa. We ain’t got five bucks. We don’t even got five cents. Hey, your honor, how ‘bout I roll you for it. Double or
nothing?

CRANE
Move along, move along.
(DENTON and DAVID enter. The BAILIFF brings MORRIS DELANCEY forward. WEASEL rises, hair slicked
down and a new collar on HIS shirt. HE nods to the JUDGE.)

WEASEL
He's one of ours, your honor.

CRANE
Dismissed. Next!
(the NEWSIES hiss and boo. CRANE gavels for silence. The BAILIFF brings up KUEHN, 14, a bloody bandage
on HIS head.)

BAILIFF
H.H. Kuehn, assault.

KUEHN
I been framed!
(the NEWSIES laugh. CRANE's face darkens. HE bangs the gavel.)

CRANE
One more outburst and you'll all be in the workhouse till Christmas. Twenty days. Juvenile Asylum. Next!
(KUEHN is deflated by the harsh sentence.)

DENTON
86
Your honor, I’ll pay the fines. All of them.

CRANE
Pay the clerk. Move it along.

DAVID
Hey, you fellas alright? Where’s Jack?

DENTON
Look, we’ve got to meet at the restaurant. Everybody. We have to talk.
(the BAILIFF brings JACK in handcuffed)

JACK
Hey fellas!

RACETRACK
Hey, Cowboy! Nice shiner!

JACK
Hey, Denton. I guess we made all the papes this time. So, how’s my picture look?

DENTON
None of the papers covered the rally. Not even the Sun.

BAILIFF
Jack Kelly. Inciting to riot, assault, resisting arrest.

WEASEL
A ringleader, your honor.

JACK
(cocky)
I object to Mr. Weasel talkin' about us on any grounds. He's a snake...your judgeship.
(the JUDGE glares at JACK. The NEWSIES applaud, but stop when the gavel comes down. The BAILIFF
whispers to the JUDGE.)

CRANE
Someone wants to speak on your behalf, young man. Approach the bench, Mr. Snyder.
(JACK'S bravado leaves HIM when HE sees SNYDER approaching.)

SNYDER
I know this boy, your honor, but not as Jack Kelly. His real name is Francis Sullivan. He and his younger brother,
Michael, were sentenced to the House of Refuge for theft.
(looks at JACK)
This boy has no parents. He's incorrigible, destined for a life of crime. He's already responsible for the death of his
brother...

JACK
You're a liar!

CRANE
Silence!
87
(the NEWSIES whisper. JACK looks at DAVID, sees the stunned look on HIS face and averts HIS eyes. DAVID,
shocked, looks up at DENTON.)

SNYDER
And here he is again, leading more innocent children astray. I have a warrant for his arrest. I ask the court to return him
to my custody...

JACK
No...

SNYDER
...until I decide he's fit to be released into civilized society.

JACK
Send me to the adult slammer inst–!

CRANE
That'll be up to Mr. Snyder. I return you to the custody of the Warden of the Juvenile Asylum.
(HE slams the gavel. JACK is destroyed. SNYDER puts on a show of solicitude as HE gets a firm grip on
JACK'S arm.)

LES
No!
(JACK is led away. SNYDER follows, then turns and smiles at the JUDGE.)

SNYDER
Thank you, your honor.
(HE leads JACK past the NEWSIES to the door. DAVID is aghast. Blackout.)
88
Scene Nine

(The NEWSIES sit in Tibby’s Restaurant. LES eats a hotdog. DAVID sits close. The rest of the NEWSIES are all
eating, drinking, playing cards, arm wrestling, etc. DENTON enters. THEY greet HIM.)

SKITTERY
Why didn’t the Sun print the story?

DENTON
Because it never happened

RACETRACK
What do you mean it never happened? You were there!

KID BLINK
You wrote it!

DENTON
It’s not in the papers, it never happened. The owners decreed it not be in the papers, therefore…I came to tell you fellas
good bye.

BOOTS
What happened? Did you get fired or something?

DENTON
No, I got reassigned back to my old job as the Sun’s ace war correspondent. They want me to leave right away. The
owner thinks I should only cover the really important stories.
(the NEWSIES say nothing. SOME turn away.)
Wish me luck fellas. At least half of what I wish for you.
(OTHER NEWSIES turn away)
They don’t always fire you. I would be black balled from every paper in the country. I’m a newspaper man. I have to
have a paper to write for.
(pulls out a nicely folded sheet with writing on it.)
This is the story I wrote about the rally.
(hands it to DAVID)
I want you to read it at least.
(digging out change in his pocket)
This should cover it
(DENTON pays the WAITER and leaves. DAVID crumples the story up and throws it on a table)

DAVID
We get Jack out of the Refuge tonight. From now on, we trust no one but the Newsies.
(The NEWSIES get up and leave. LES uses DENTON’S article to wrap HIS unfinished hot dog in. Blackout.)
89
Scene Ten

(The lights come up on a room in a beautiful mansion. We are in Pulitzer’s study. The magnificent room stands
silent. SEITZ enters PULITZER'S study as a BUTLER leads SNYDER and JACK to armchairs. JACK has never
seen such luxury. HE stares as if in a dream.)

SEITZ
Mr. Pulitzer is expecting us.
(to WEASEL)
Wait here.
(HE exits)

BUTLER
May I offer you a drink, young man?

JACK
(staring at a silver urn)
Huh?

BUTLER
A drink. Lemonade? Hot chocolate?

JACK
Hot chocolate? Sure...for my pal, here.
(gestures to SNYDER)
I'll take a beer.
(it is a little flash of the old JACK. It is extinguished when SNYDER pulls HIS arm, forcing JACK down in a
chair. SNYDER remains standing. SEITZ enters followed by PULITZER who enters sipping tea. HE sits in an
armchair. The atmosphere is hushed, as usual. SEITZ stands.)

PULITZER
Thank you, Mr. Snyder
(it sounds like a dismissal. SNYDER pauses, unsure what to do.)

SEITZ
We'd like to speak to the boy alone.
(SNYDER reluctantly exits, leaving JACK alone in the middle of the room. The BUTLER stands in the back of
the room. JACK feels the leather of the chair, entranced. The BUTLER moves a cup and saucer, causing a
sharp rattling sound. PULITZER winces.)

BUTLER
Excuse me, sir.
(JACK stares at PULITZER as the HE makes an effort to regain HIS composure. The BUTLER brings JACK a
drink.)

PULITZER
That's all right, Marcus.
(pauses, to JACK)
I want to end the troubles we've been having.

JACK
Things ain't going too good for you?
90
(PULITZER chuckles, the first time we've seen HIM laugh.)

PULITZER
Let me get a better look at you.
(SEITZ is surprised. HE guides JACK to stand right in front of PULITZER. JACK flinches as the old man
reaches for HIS face. SEITZ pats JACK to reassure HIM as PULITZER explores the young man's face.
PULITZER finishes, sits back, thoughtful. SEITZ signals JACK to sit again.)
You seem like an intelligent young man. Tell me, what do you want in life?

JACK
A chance.

PULITZER
When I was your age I wanted to be a soldier. An officer in the Austrian army, with a sword and a fancy uniform. But
they didn't want a poor boy with bad eyesight. So I came to America during the Civil War and served in the Union
Army. Then I realized, why should I be a soldier in someone else's army?

JACK
Exactly my sentiments.

PULITZER
But you are, Mr. Sullivan. This strike is a children's game, and you are a young man who has run out of time for play.

JACK
I ain't playing. I got a plan. I'm heading west.

PULITZER
Good! You have spirit. What do you need? Train fare. A stake to start a business, buy some land. How much?
(swift pause)
Say, a hundred dollars.
JACK
A hundred!
(JACK thinks it is an impossible amount of money. PULITZER pretends to misinterpret JACK’S outburst.)

PULITZER
All right. Two hundred.
(JACK swallows)
How long would it take you to save two hundred dollars? Ten years? I'll tell you a secret. Very soon now, newspapers
will be delivered directly to the home and the independent Newsie will be history. Where will you be then, young man?
Will your fellow strikers be around to help you?
(looking at JACK’S drink)
You haven't touched your drink.
(JACK is caught off guard. HE takes a sip from the cup.)
You're starting out with several strikes against you, Mr. Sullivan. But this is America; you can rise above your
circumstance. I did. I had nothing, and now...

JACK
You got everythin'.

PULITZER
(grins)
It's time for you to think about your future, son. No one else will.
91
(HE rises)
You'll make the right choice.

JACK
Are you bribin’ me, Joe?

PULITZER
No.

JACK
Well, it’s been real nice chattin’ with ya, Joe. But I got to be goin’ now.

PULIZTER
You listen to me, boy. You just shut your mouth and listen to me! You shut up and listen to me for once! No game I’m
playing. You work for me until the strike’s over, and it will end, boy, make no mistake, with or without you. Then you
go wherever you want to buy a ticket for. Away from the Refuge, these foul streets. Free. With money to spend and
nobody chasing you.

JACK
We must have you scared pretty bad, old man.

PULITZER
I offer you freedom and money just to work for me again. To your friends, I won’t be so kind. Now, your partner,
what’s his name? David. I understand he has a family. What do you think the Refuge will do to him? And it will be you
who put him there. And all the others, after all, you’re their leader. Go back to the Refuge tonight, think about it. Give
me your answer in the morning.
(PULITZER nods to SEITZ and exits. JACK is silent, absorbing what PULITZER has said. SEITZ watches
JACK for a moment.)

SEITZ
It's up to you.
(JACK cuts HIM a look. THEY both exit. Once off stage, we hear DAVID’S voice call out.)

DAVID (O.S.)
Jack! Come on! Come on!

SNYDER (O.S.)
After him!

SEITZ (O.S.)
Don’t worry. He’s got no place to go.
(Blackout.)
92
Scene Eleven

(The alley scrim has fallen once again. JACK and DAVID come running in from around one of the sides of the
audience. DAVID continues running as JACK slows down.)

DAVID
Come on! Keep running!

JACK
You shouldn’t have done this, Dave. They could put you in jail.

DAVID
I don’t care

JACK
Come here. What about your family? What happens to them if you go in jail? You don’t know nothing about jail. Now,
thanks for what you done, but you get out of here.

DAVID
I don’t understand.

JACK
I don’t understand either, but just get outta here!

DAVID
No!

JACK
Go!
(DAVID turns slowly and walks away. JACK sits on a box. During the first verse, the scrim slowly rises to
reveal JACK’S cell in the Refuge. HE slowly crawls onto HIS bed. There are no sheets or pillow on the bed.)


SANTA FE
MY OLD FRIEND
I CAN’T SPEND MY WHOLE LIFE HIDIN’
YOU’RE THE ONLY LIGHT THAT’S GUIDIN’ ME TODAY
(CRUTCHY opens a little slot in the door. HE has a potato)

CRUCTHY
Psst! Jack! Look! I snatched it off Snyder’s plate while I was serving him. It’s the biggest one. Oh, Mr. Snyder was
eating good tonight. You know the stuff that we don’t ever get? He got potatoes, olives, liver, bacon, sauerkraut. And
guess what I done to his sauerkraut, huh?

JACK
So, what’d it get ya?

CRUTCHY
Oh, another three months, probably, but you can’t let ‘em get you, right Jack? That’s what you always said.
Santa Fe (Reprise)
93

JACK
We was beat when we was born.
(CRUTCHY frowns and closes the slot)
WILL YOU KEEP A CANDLE BURNIN’
WILL YOU HELP ME FIND MY WAY?
YOU’RE MY CHANCE TO BREAK FREE
AND WHO KNOWS WHEN MY NEXT ONE WILL BE
SANTA FE
WAIT FOR ME
(HE uses HIS shoes as a pillow and HIS jacket as a blanket. HE’S skilled at this, from HIS old life on the street.
HE winces as HE settles in. Slow blackout.)
94
Scene Twelve

(The lights come up on the courtyard. The NEWSIES are picketing outside the World building.)

NEWSIES
Stop the World! No more papes! Stop the World! No more papes! (etc.)
(The POLICE form a barricade. Some of the NEWSIES start to fight amongst THEMSELVES.)

DAVID
Race! Help me! I need some help!

RACETRACK
Alright! I ain’t deaf!

SPOT
Hey, hey, hey! Break it up. Hey, Race, come here.
(WEASEL leads JACK out. HE’S in a new suit)

RACETRACK
What?
(HE sees JACK)

SPOT
Just tell me I’m seeing things. Just tell me I’m seeing things.

RACETRACK
No, you ain’t seeing things. That’s Jack. What’s he doing?

SPOT
He’s dressed like a scabber!

MUSH
Jack? Jack, look at me, will ya? Come on, it’s me, Mush. Look at me. What are you doin’, Jack?

KID BLINK
This ain’t happening. This can’t be happening. What are you doin’ Jack? Come on, what are you doin’?

BOOTS
Come on. What is this? Where’d you get them clothes?

WEASEL
Mr. Pulitzer picked them out himself. A special gift to a special new employee.

SPOT
He sold us out!

RACETRACK
I’ll give you a new suit! You bum! I’ll soak ya!

SPOT
Hey, hey, hey! Let me get my hands dirty. Come here you dirty rotten scabber! Traitor!
(some NEWSIES pull SPOT away. DAVID stares at JACK)
95

WEASEL
Aww. You wanna talk to him? Come on, come on. Sure. Go right ahead.
(DAVID walks up to JACK)

DAVID
So, this is why you didn’t escape last night. You’re a liar! You lied about everything. You lied about your father being
out west, ‘cause he’s not out west! You didn’t even tell me your real name!

JACK
So? What you wanna do about it Dave?

DAVID
I don’t understand you.

JACK
Oh, so let me spell it out for ya. You see, I ain’t got nobody tucking me in at night, like you. It’s just me, I gotta look
out for myself.

DAVID
You had the Newsies.

JACK
Oh, what’d being a Newsies ever give me but a dime a day and a few black eyes? You know, I can’t afford to be a kid
no more, Dave. For the first time in my life, I got money in my pockets. Real money. Money, you understand? I got
more on the way and as soon as I collect, I’m gone, I’m away. Alright?

DAVID
Well, that’s good. That’s good because we don’t need you! We don’t need you! All those words you said, those were
mine.

JACK
Yeah, but you never had the guts to put them across yourself, did you?

DAVID
I do now.
(DAVID starts to go back to the NEWSIES, then turns to look at JACK again.)

JACK
What’sa matta? Got a problem?
(DAVID rushes towards JACK, but WEASEL and a few POLICEMEN pull HIM away. DAVID struggles. The
NEWSIES stand motionless.)

WEASEL
Maybe you’d like a new suit of your own, huh?

DAVID
Never! Never!

WEASEL
Get outta here! Get outta here!

96
DAVID
I’m not like you!
(The COPS surround JACK so the NEWSIES can’t get HIM. The NEWSIES watch HIM go.)
You'll finally get your headline, Cowboy. "Newsie Leader Sells Out."
(DAVID turns and walks off)

SPOT
Traitor!

KID BLINK
You make me sick!

BOOTS
I trusted you!

RACETRACK
Seize the day, huh Jack?

LES
(trying to make sense of everything)
He’s foolin’ ‘em, so he can spy on ‘em or something. Yeah, yeah, that’s it. He’s foolin’ ‘em!

RACETRACK
(seeing that LES doesn’t understand, HE takes LES under HIS arm.)
Yeah, he’s spying on them, kid.
(Blackout. Fast segue.)
97
Scene Thirteen

(The curtain opens to reveal DAVID’S apartment. SARAH is going through things. SHE comes across LES’S
hotdog wrapped in DENTON’S article.)

SARAH
Les. What is this?

LES
Savin’ it
(HE takes the hot dog and leaves the article in SARAH’S hands. SHE looks at it.)

SARAH
David. It’s Denton’s article. ‘The Dark Truth; Why Our City Really Fears The Newsies Strike’ by Bryan Denton. ‘Last
night I saw naked force exercised against mere boys, the Newsies, who were…’
(DAVID climes out the window, slams it, then storms off the fire escape. The curtain closes. Direct segue.)
98
Scene Fourteen

(Tibby’s Restaurant turns to reveal a doorway. It is the doorway to the World’s basement. WEASEL leads
JACK to HIS new bedroom.)

WEASEL
One trick, Cowboy, and it’s right back to the Refuge.
(HE throws a dust covered sheet and a tiny pillow to JACK.)
Ah. You gonna be requiring anything this evening?
(silence)
Huh?
(still no answer)
No?
(HE looks at HIS watch)
Aww...tick tick. Well then, I ought to be saying good night. Remember, one trick and I go straight to Mr. Pulitzer.
(HE exits, leaving JACK alone. Immediate segue.)
99
Scene Fifteen

(We are now in courtyard. It is morning. JACK goes to collect HIS papers. OSCAR and MORRIS come up
behind HIM.)

WEASEL
Sleep well Cowboy?

OSCAR
Come with us Cowboy. We’re gonna go fix you’re pal, Davey. Fix him so he can’t walk.

MORRIS
Shut up.
(JACK starts to go after THEM.)

WEASEL
Ah! Lift one finger and its right back to the Refuge. Next!
(JACK picks up HIS papers and leaves. Immediate segue.)
100
Scene Sixteen

(Later that morning. The alley drop has come back down. SARAH is walking to work with LES. SHE has a
basket full of lace. SHE passes a LADY working.)

SARAH
Morning.

LADY
Good mornin’, dear.

OSCAR
(OSCAR ‘bumps’ into SARAH)
’Scuse me, Sweetface.
(SHE continues to walk with OSCAR behind HER. MORRIS steps out in front of HER.)

MORRIS
Where’s your little brother, Tootsie? Where’s little Davey?
(SARAH tries to get by, but the BROTHERS push HER around.)

LES
Leave my sister alone!
(HE shoves OSCAR. MORRIS holds onto SARAH while OSCAR pushes LES onto the ground.)

SARAH
Stop it! Leave him alone!
(OSCAR shoves LES into a pile of baskets. SARAH shoves MORRIS away.)
You stupid ape.
(SHE punches HIM, but it doesn’t hurt HIM. SHE runs into the alley. The BROTHERS catch HER. DAVID sees
LES and helps HIM up.)

DAVID
What’s the matter? Are you alright?

LES
I’m alright, I’m alright. Help Sarah!

SARAH
Run Davey!

OSCAR
Yeah, run Davey. We got the best part of your family right here.
(DAVID tackles OSCAR)

SARAH
Let go of me!
(MORRIS throws HER to the ground. OSCAR punches DAVID)
Stop it!
(calling to LES)
Les!
(LES comes running to HER. THEY crouch in a corner.)
Stop, you’re hurting him! No!
101
(MORRIS pulls out a pair of brass knuckles and puts them on.)
Leave him alone!
(OSCAR continues to punch DAVID. JACK is walking down the street near the alley.)
Stop it! Leave him alone!
(JACK hears HER cries and runs, dropping HIS papers as HE goes. OSCAR holds DAVID as MORRIS gets
ready to hit HIM with the knuckles. JACK comes up behind MORRIS and punches HIM. DAVID gives OSCAR
an elbow in the stomach. JACK throws MORRIS into a box)

JACK
Get over here.
(JACK grabs OSCAR)
Remember Crutchy?
(JACK head butts HIM and HE falls near MORRIS. JACK goes to help SARAH up)
You alright?

SARAH
Yeah.
(THEY hug briefly)
David!
(JACK goes to DAVID and checks HIM out before helping HIM up. OSCAR and MORRIS finally get up.)

MORRIS
(getting off the ground)
You’d better run, Cowboy. We’re gonna tell uncle Weas. You’ll be back in the Refuge before suppertime!

OSCAR
Run, you lousy coward, run!
(The DELANCY’S exit. JACK starts to go after THEM, but SARAH stops HIM. LES runs to the end of the alley.)

LES
Run! Get outta here! Don’t come back! You hear me?

DAVID
What? You couldn’t stay away?

JACK
Well, I guess I can’t be something I ain’t.

DAVID
A scab?

JACK
No, smart.
(Blackout.)
102
Scene Seventeen

(The lights come up on Denton’s apartment. The tiny room has HIS photos tacked to the walls. DENTON is
packing things up in boxes. DENTON pulls on HIS robe as HE answers a knock on the door. HE is shocked to
see JACK and DAVID.)

JACK
(holding up DENTON’S article)
Did you mean what you wrote here? ‘Bout all these sweat shop kids listening to me?

DENTON
I don’t write anything I don’t mean. Come on in. I’m just packing a few things.
(THEY enter. DAVID closes the door.)
So, yes, I mean it. The city thrives on child labor. A lot of people make money that way. They’re terrified that the
Newsies strike will spread.

JACK
Well, there’s really not much chance of that as long as they got the power

DENTON
Sometimes, all it takes is a voice, one voice. Then a thousand. Unless it’s silenced.

JACK
Why can’t we spread the strike? Have another big rally and get the word out to all the sweat shop kids? Why not?

DAVID
What are we going to do? Print an ad in the newspaper?

JACK
No! We’ll do better than that. We’ll make our own paper. We tell ‘em they gotta join us. Isn’t that a good idea?

DAVID
Yeah, it is. But what do we know about printing a newspaper?

JACK
Nothing, but our man Denton…

DAVID
(laying it on thick)
Yeah, but our man Denton has something more important to do. He’s going to be an ace war correspondent, right
Denton?

DENTON
Alright. Where do we start?
(THEY sit at a table)

JACK
Alright, we gotta move fast. Now, we’ll need the Newsies to circulate.

DENTON
There’s something else that we need. We need a printing press.

103
JACK
Just so happens I know a guy with a printing press.
(Blackout. Fast segue.)
104
Scene Eighteen

(Once again, we are in the basement of the World Building. JACK, SARAH, DAVID and DENTON enter.)

SARAH
You’ve been living here?

JACK
Shh. They’re right above us. Weasel catches us here, we’re all in the slammer.
(JACK uncovers a press)

DENTON
Alright! A Platen press. Looks like old man Pulitzer never threw anything away.

DAVID
Is it going to work?

DENTON
It better. We have a deadline.
(THEY start printing THEIR papers.)



THIS IS THE STORY YOU WANTED TO WRITE,
WELL TONIGHT IS THE NIGHT THAT YOU CAN.

JACK
JUST GET THIS DONE AND BY DAWN’S EARLY LIGHT
YOU CAN FINISH THE FIGHT YOU BEGAN.

DAVID
THIS TIME WE’RE IN IT TO STAY

SARAH
THINK ABOUT SEIZING THE DAY

JACK
THINK OF THAT TRAIN AS SHE ROLLS INTO OLD SANTA FE
TELL HER I’M ON MY WAY

NEWSIES (O.S.)
SEE OLD MAN PULITZER SNUG IN HIS BED
HE DON’T CARE IF WE’RE DEAD OR ALIVE
THREE SATIN PILLOWS ARE UNDER HIS HEAD
WHILE WE’RE BEGGING FOR BREAD TO SURVIVE

JOE, IF YOU’RE STILL COUNTING SHEEP
WAKE UP AND READ ‘EM AND WEEP
YOU’VE GOT YOUR THUGS
WITH THEIR STICKS AND THEIR SLUGS
Once and For All
105
YEAH, BUT WE GOT A PROMISE TO KEEP

ONCE AND FOR ALL
SOMETHING TELLS ME THE TIDE WILL BE TURNING
ONCE AND FOR ALL
THERE’S A FIRE INSIDE ME THAT WONT STOP BURNING
NOW THAT THE CHOICES ARE CLEAR
NOW THAT TOMORROW IS HERE
WATCH HOW THE MIGHTY WILL FALL
FOR ONCE AND FOR ALL!
(JACK hands bundles of papers to the NEWSIES who are standing outside the window.)

DENTON
It’s awfully nice of Mr. Pulitzer to let us use his press

JACK
Yeah, I just hope I get to thank him for it someday.
(DENTON exits. The NEWSIES spread out and hand the papers to various WORK KIDS.)

NEWSIES
(by this time, members of the CAST [that are not handing out flyers] have mounted various parts of the set and
have spread THEMSELVES over the stage and in front of the audience. While THEY sing, lights slowly come up
on THEM. By the end of the song, EVERYONE should have a flyer and should be reading while THEY sing.
Also during this section, THOSE who place THEMSELVES on the revolving set pieces may strike a pose and sit
there as the set revolves showing three different scenes on each.)
THIS IS FOR KIDS SHINING SHOES ON THE STREETS
WITH NO SHOES ON THEIR FEET EVERYDAY
THIS IS FOR GUYS SWEATING BLOOD IN THE SHOPS
WHILE THEIR BOSSES AND COPS LOOK AWAY
THIS IS TO EVEN THE SCORE
WE AIN’T JUST NEWSIES NO MORE
THIS AIN’T JUST KIDS WITH SOME PIE IN THE SKY
THIS IS DO IT OR DIE
THIS IS WAR!

ONCE AND FOR ALL
WE’LL BE THERE TO DEFEND ONE ANOTHER
ONCE AND FOR ALL
EVERY KID IS A FRIEND
EVERY FRIEND A BROTHER
FIVE THOUSAND FISTS IN THE SKY
FIVE THOUSAND REASONS TO TRY
WE’RE GOING OVER THE WALL
BETTER TO DIE THAN TO CRAWL
EITHER WE STAND OR WE FALL
FOR ONCE
ONCE AND FOR ALL!
(Blackout.)
106
Scene Nineteen

(The lights come up on Newsies Square. Only a few NEWSIES are there. None of the WORK KIDS and OTHER
PEOPLE that were handed flyers are there. The NEWSIES have gathered around the Horace Greeley statue.)

MUSH
So, when's the others coming, kid?

JACK
They ain’t coming. Ain’t gonna be nobody but us.

SNITCH
Come on, Jack.

SPECS
Have hope, Jack.
(LES walks away from the GROUP.)

LES
WHEN THE CIRCULATION BELL STARTS RINGING,
WILL WE HEAR IT?

RACETRACK
Nah.
WHAT IF THE DELANCEY’S COME OUT SWINGING,
WILL WE HEAR IT?

LES
No!

RACETRACK
That a boy!

WORK KIDS (O.S.)
WHEN YOU’VE GOT A MILLION VOICES SINGING
WHO CAN HEAR A LOUSY WHISTLE BLOW?
AND THE WORLD WILL KNOW!
(WORK KIDS come in from all directions. The NEWSIES cheer. THE MESSENGERS, SPOT [leading in all of
the BROOKLYN KIDS], FACTORY WORKER KIDS, SWEATSHOP KIDS, ADULTS, WOMEN'S GROUPS,
DENTON, MAYER, ESTHER, SARAH and THE NEIGHBORS...with more CHILDREN joining the parade at
every step.)

SPOT
Brooklyn!

NEWSIES & WORK KIDS
THE WORLD WILL FEEL THE FIRE AND FINALLY KNOW!
(EVERYONE cheers.)

The World Will Know (Reprise)
107
WORK KIDS
Strike! Strike! Strike! (etc.)
(The NEWSIES make THEIR way to the front of the World Building. The lights go to blue on the CROWD.
THEY are still mouthing ‘Strike! Strike! Strike!’ Pulitzer’s Office is revealed. PULITZER is at HIS desk. SEITZ
brings in JACK and DAVID. JONATHAN grabs HIS arm and whispers.)

JONATHAN
It’s awful. Everyone’s calling. Mr. Hearst, and Mr. Bennett, and the mayor in such awful language. The city’s at a
stand still and they all blame the chief. It’s like the end of the World, only I didn’t say that.
(JACK and DAVID go to PULITZER’S desk, where JACK pulls out a copy of the newspaper.)

JACK
Extra, extra, Joe. Read all about it.
(HE slams the paper onto PULITZER’S desk.)

PULITZER
I promised that if you defied me, I’d break you. I’ll keep that promise, boy. Now, I gave you a chance to be free. I don’t
understand. Anyone who doesn’t act in their own self interest is a fool.

DAVID
Then what does that make you?

PULITZER
What?

JACK
Oh, this is my pal, Davey. The Walkin’ mouth

DAVID
You talk about self interest, but since the strike, your circulation’s been down seventy percent. Everyday you’re losing
thousands of dollars just to beat us out of one lousy tenth of a cent. Why?

JACK
You see, it ain’t about the money, Dave. If Joe gives in to nobodies like us, it means we got the power. And he can’t do
that, no matter what it costs. Am I right, Joe?

PULITZER
I sent for the police. They must be here by now. Send them in, Seitz

JACK
I’m not going back to jail, Joe. Look out here. Right out here is where the power is.
(JACK opens the window. At once, the sound erupts from the CROWD. ‘Strike! Strike! Strike!’ PULITZER
covers HIS ears.)

PULITZER
(to JACK)
Close the window! Close the window!
(to CROWD)
Go home! Go home! Go home!

JACK
I can’t hear you, Joe!
108

PULITZER
(to CROWD)
Go home! Go home to your mothers and fathers! Go home!

JACK
I don’t hear ya!

PULITZER
(to JACK)
Now you listen to me!

JACK
Maybe you should listen!

PULITZER
No, no! You listen to me!

JACK
No! You listen!

PULITZER
Close the window and shut up!

JACK
There’s a lot of people out there and they ain’t just gonna go away. They got voices now and they’re going to be
listened to. Putting them in jail is not going to stop them! That’s the power of the press, Joe.
(HE closes the window. The CROWD goes back to miming ‘Strike! Strike! Strike!’ PULITZER takes HIS hands
away from HIS ears.)
So thanks for teaching me about it.

SEITZ
Those kids put out a pretty good paper there Chief.
(PULITZER picks up the paper and reads it.)

PULITZER
I ordered a printing ban on all strike matters. Now, who defied me? Whose press did you use to print this on? Whose?

JACK
Well, we only use the best, Joe. So, I just want to say, thanks again.
(Lights out on Pulitzer’s Office. JACK and DAVID make their way back to the CROWD.)

SPOT
Hey, fellas, they’re over here!
(The NEWSIES gather around and start asking questions. JACK bends over and whispers in LES’S ear.)

JACK
The strike’s over. We beat ‘em.
(JACK lifts LES onto HIS shoulders and looks out towards all the CHILDREN.)
We beat ‘em!
(The CROWD cheers. All the NEWSIES hug and pat each other on the back WEASEL, OSCAR and MORRIS
put on their hats and leave. A paddy wagon pulls up. SNYDER is sitting in the front seat with TWO COPS.)
109

LES
Jack! Jack, it’s the bulls. It’s the bulls. Let me down!

SWIFTY
Down Jack. Get down!

KID BLINK
Hide Jack

DENTON
Jack, it’s over. No, no. You don’t have to run. Not anymore. Not from the likes of him. Come on, Come on.
(A COP opens the paddy wagon and the KIDS from the Refuge come out. The last one is CRUTCHY. A COP
leads SNYDER into the paddy wagon. CRUTCHY taps HIM on the back.)

CRUTCHY
Ah, remember what I told ya, Mr. Snyder. The first thing ya do in jail, make friends with the rats. Share what you got in
common.
(SNYDER climbs in. A POLICE OFFICER is about to close the door.)
Officer, may I please?

POLICE OFFICER
Sure kid.
(CRUTCHY hands HIS crutch to a KID. HE slams the door and locks it. HE gets HIS crutch back and goes over
to JACK and the OTHERS.)

JACK
Heya Crutchy.

DENTON
You won’t be seeing much of him anymore. Say goodbye Warden.

NEWSIES
Goodbye Warden!
(the paddy wagon pulls away)

CRUTCHY
Oh, Jack, you ought to seen it! He comes stormin’ into the Refuge waving
his walking stick like a sword and he’s leading in this army of lawyers and cops.

JACK
Who comes stormin’ in?

CRUTCHY
You know, your friend. Him! Teddy Roosevelt
(the NEWSIES are amazed. In the back, TEDDY ROOSEVELT stands shaking hands and waving to the
CROWD.)

DENTON
The Governor’s very grateful that you brought this problem to his attention. I said you might need a lift somewhere.
He’d be happy to oblige. Anywhere you want. And this time, you ride inside.

110
JACK
So, can he drop me at the train yards?


DENTON
Yeah, if that’s what you want.
(THEY make THEIR way to ROOSEVELT’S carriage. JACK shakes HIS hand and climbs in. BOOTS throws
JACK a bag. DAVID, LES and SARAH watch sadly. The WORK KIDS follow the carriage as it leaves, leaving
the NEWSIES alone. The circulation bell begins to ring.)

MUSH
TRY BOTTLE ALLEY OR THE HARBOR

RACETRACK
TRY CENTRAL PARK, IT’S GUARANTEED

CRUTCHY
TRY ANY BANKER, BUM OR BARBER

KID BLINK
THEY ALMOST ALL KNOWS HOW TO READ

BOOTS
SUMMER STINKS

SKITTERY
AND WINTER’S WAITING

SPECS, BUMLETS & SNIPESHOOTER
WELCOME TO NEW YORK

SNODDY, PIE EATER, SWIFTY, ITEY & JAKE
BOY AIN’T NATURE FASCINATING

NEWSIES
WHEN YOUSE GOTTA WALK
(The NEWSIES line up for THEIR papers. DAVID is first in line. HE slaps down a coin.)

DAVID
Hundred papes.

MUSH
Alright Davey.
(The NEWSIES hear cheers and turn to see the carriage returning. All the WORK KIDS are following.)
Dave, he’s back!

JACK
Thanks for the advice, Governor. Like you said, I still got things to do. Besides, I got family here.
(HE gets out of the carriage and gives LES HIS cowboy hat. All the NEWSIES yell and talk at the same time.)
Carryin’ the Banner (Reprise)
111
So, how’s the headline today?

DAVID
Headlines don’t sell papes, Newsies sell papes.

JACK
Come here, Davey.
(JACK holds out HIS hand. DAVID spits in HIS and shakes it. SARAH makes HER way through the CROWD.
HER and JACK kiss. All the NEWSIES cheer and yell. The carriage pulls away, with ROOSEVELT and SPOT
in it. SPOT tips HIS hat and waves as HE leaves.)

SARAH
Bye Spot!

JACK
Go back to Brooklyn ya hear!
(DAVID, JACK, SARAH, LES and CRUTCHY lead the way. DENTON shakes DAVID’S hand, then goes to the
side and starts writing. The NEWSIES, with THEIR papers, dance as THEY leave through the audience. THEY
should split at center and dance their way out each side and make their way behind the audience. THEY repeat
the following section until EVERYONE is offstage. This concludes Act Two.)

GROUP ONE
IT’S A FINE LIFE CARRYIN’ THE
BANNER.
IT’S A FINE LIFE CARRYIN’ THE
BANNER.
IT’S A FINE LIFE CARRYIN’ THE
BANNER.
IT’S A FINE LIFE CARRYIN’THE
BANNER.


GROUP TWO
YOU GOT ‘EM, COWBOY

YOU SHOWED ‘EM HOW BOY!

YOU GOT ‘EM COWBOY

YOU SHOWED ‘EM HOW BOY!



Originally Written by: Bob Tzudiker & Noni White Rewrites by: David Fallon and Tom Rickman 2

Song Score by: Jack Feldman and Alan Menken Stage Adaptation and Score by: Philip McBride

Music and Lyrics Copyright © 1992 Wonderland Music Co., Inc. International Copyright Secured ALL RIGHTS RESERVED

COPYRIGHT WARNING Professionals and amateurs are hereby advised that this material is fully protected by copyright in the United States of America, the British Commonwealth (including Canada) and other countries throughout the world. All rights, including performance of any kind or nature by professionals or amateurs, recitation, lecturing, public reading, radio or television broadcast, cable television, videotape, audio recording, motion pictures and rights of translation into foreign languages are strictly reserved. Any performance, copying (including photocopying), arranging, adapting, inserting or sorting in a retrieval system, transmitting in any form by any means whatsoever, including mechanical or electronic, of any portion of this material without the prior written consent or the copyright owners is an infringement of copyright thereby entitling the copyright owners to injunctive and other relief to the full extent of the law.

3

NEWSIES Cast of Characters The Newsies Jack Kelly David Jacobs Les Jacobs Racetrack Crutchy Boots Mush Kid Blink Spot Conlon Snitch Jake Itey Snipeshooter Specs Brooklyn Newsies Dutchy Snoddy Skittery Bumlets Pie Eater Swifty Kuehn The Friends of the Newsies Jacob Denton Medda Larkson Sarah Jacobs Mayer Jacobs Esther Jacobs Kloppman Nuns Patrick's Mother Fat Max Cohen Teddy Roosevelt The Opposing Forces Joseph Pulitzer Weasel Snyder Seitz Morris Delancy Oscar Delancy Jonathan Judge Crane Mayor Van Wyck Chief of Police Devery Captain McSwain Bailiff Bunsen Gammon Policeman World Employee Chorus Shoe-Shiner Family Noisemakers Two Lovers Customers Women with Funny Hats Seven Blind People Sleeping Man Jugglers Announcer Street People Cops Neighborhood Children Spike Boy with Banjo Vendors Workers Drivers Man Inmate Scabs Waiter Restaurant Owner The Kid Weasel’s Thug Army Medda’s Maid Medda’s Bodyguard Bailiff Pulitzer’s Butler Lady Work Kids Sweatshop Kids Women’s Groups Neighbors Messenger 4 .

NEWSIES Scene by Scene Song by Song ACT ONE Prologue A Prologue B Scene One Scene Two Scene Three Scene Four Scene Five Scene Six Scene Seven Scene Eight Scene Nine Scene Ten Scene Eleven Scene Twelve Scene Thirteen Scene Fourteen Scene Fifteen Scene Sixteen Scene Seventeen Scene Eighteen The Newsies Lodging House/ The Street The Courtyard/The Street Pulitzer’s Office The Street/The Chase The Street Irving Hall/ The Street David’s Apartment The Fire Escape/ The Street Pulitzer’s Office The Courtyard Tibby’s Restaurant Brooklyn The Street David’s Apartment The Refuge Newsies Square Pulitzer’s Office The Street Carrying the Banner My Lovey Dovey Baby Santa Fe The World Will Know Seize the Day Proud of Your Boy Seize the Day (Reprise) 5 .

Hard Times Santa Fe (Reprise) Once and For All World Will Know (Reprise) Carryin’ the Banner (Reprise) 6 .NEWSIES Scene by Scene Song by Song ACT TWO Scene One Scene Two Scene Three Scene Four Scene Five Scene Six Scene Seven Scene Eight Scene Nine Scene Ten Scene Eleven Scene Twelve Scene Thirteen Scene Fourteen Scene Fifteen Scene Sixteen Scene Seventeen Scene Eighteen Scene Nineteen Tibby’s Restaurant The Refuge (Snyder’s Office) The Lodging House The Street David’s Apartment Pulitzer’s Office Irving Hall (The Rally) The Courtroom Tibby’s Restaurant Pulitzer’s Mansion The Alley/The Refuge The Courtyard David’s Apartment World’s Basement The Courtyard The Street/The Alley Denton’s Apartment World’s Basement/The Street The Courtyard/Pulitzer’s Office King of New York High Times.

On every street corner you saw 'em. We can see a few NEWSIES miming the action of selling papers. Poor orphans and run-aways. until one day when all that changed. the streets of New York City echoed with the voices of Newsies.NEWSIES ACT ONE (As the audience enters. William Randolph Hearst and other giants of the newspaper world. HE exits) 7 .) Prologue A (A single light shines down on RACETRACK who is standing DR in front of the scrim. (Blackout. bringing you the news for a penny a pape. carrying the banner. The action should be done in slow motion so it will not be distracting to the audience. without a leader.) RACETRACK In 1899. During RACETRACK’S speech. The curtain is actually a scrim with images of newspapers projected on it. the Newsies were a ragged army. a few lights come up behind the scrim. Various headlines and articles cover the curtain. peddling the newspapers of Joseph Pulitzer. they see a huge curtain that looks like a giant newspaper.

there's a blinding flash from DENTON’S camera. A silhouette is created and shows the NEWSIES frozen in a set pose. The lights should be as far back as possible as to not light any of the NEWSIES from the front. New York Sun. At the same time. I have taken it upon myself to write stories and photograph the world of the underprivileged.Prologue B (A single light shines down on JACOB DENTON who stands DL. Photojournalist.) 8 . HE’S a sharp dresser with an equally sharp sense of opportunity.) DENTON Jacob Denton. ALL exit and take their respective places for Scene One. bright white lights come up behind the scrim. (Suddenly. and have chosen to do my story on the Newsies. The lights slowly fade to black.

dreaming of being in better places. You dreaming of selling papers? JACK (groaning. KLOPPMAN. enters the bunkroom. you'd hardly know THEY are the orphans of the city.) JACK (rolling over. sell the papers! (HE is now at JACK’S hammock) Come on.Scene One (The curtain opens to reveal the interior of the Newsies lodging house.) KLOPPMAN Boots! (BOOTS awakens startled) Skittery! Skittery! Skittery! SKITTERY (still half asleep) What? I didn’t do it! KLOPPMAN (joking with HIM) What do you mean you didn't do it? Will you get up? When you get up.) Mmmm. This is the lodging house for newsboys.) What’s the matter with you? KLOPPMAN (nudging HIM) What’s the matter with me? JACK (shoving HIM away) What’s the matter with you? I wanna…go…back…to… KLOPPMAN Come on! (gives HIM a shove. coughing. whistling. (continues walking around and nudging the sleeping NEWSIES. We hear snoring. come on.) They sleep their lives away these kids! The presses are rolling! Sell the papers. it's time to get up! (walks over to SNITCH) Snitch! Get up! Get up! Everybody's sleeping. finding the BOYS still in bed. (angry for having being awakened.) Get away from me. THEY are the NEWSIES. etc. Many NEWSIES are sleeping in canvas hammocks. From the innocent looks on THEIR faces. rocking in THEIR hammocks. you’re mad! KLOPPMAN (continuing to bother HIM) 9 . stretched between wooden beams. the owner.

small. gambling Italian beanpole. BOOTS. Mush. Jack? JACK On my back. etc. cross-eyed. black. This opening sequence will be break-into-song musical.) RACETRACK THAT’S MY CIGAR! Carrying the Banner SNIPESHOOTER YOU’LL STEAL ANOTHER! KID BLINK (walking past) HEY BUMMERS. mittens being put on. red-headed missing teeth. All action is choreographed. skinny. all the NEWSIES are awake and getting ready for the day doing various morning duties. CHARLIE. The NEWSIES are getting dressed. semi-realistic. boots being laced up. CRUTCHY. fellas? Hear what Jack said? I asked Jack how he slept and he said ‘On my back. The intent of the sequence is to establish the world of the NEWSIES through our main character JACK. We will meet most of the members of the NEWSIES in this scene. noticing that SNIPESHOOTER has it. tall. The main NEWSIES are: RACETRACK. (JACK forces HIMSELF out of bed) All right! (beginning to exit) Carry the banner! Sell the papers! (HE exits. shirts and vests being pulled over NEWSIE heads. 15. Come on. KID BLINK. bursting from real action to choreographed movement. Irish. choreographed.Ha! Ha! Get up. By now. RACETRACK looks around for HIS cigar. 11. skinny. 18. 14. boy. and introduce us to the NEWSIES themselves. MUSH. MUSH (HE laughs and tries to retell the joke to the other NEWSIES) Ha! Ha! You hear that. WE GOT WORK TO DO! KID (mocking HIM) SINCE WHEN DID YOU BECOME ME MOTHER? CRUTCHY (looks up from a wash basin) AW. The sequence will take place in a series of scenes. and with a dirty face.’ 10 . STOP YOUR BAWLING! NEWSIES (throwing various items at HIM) HEY! WHO ASKED YOU? MUSH (to JACK) So how’d you sleep. a NEWSIE shaving. Mush.

when I walk. a real crip ain’t got a chance.(MUSH and JACK separate. I got to find me a new selling spot where they ain’t used to seeing me. who says you’re faking it? CRUTCHY I don’t know. IT’S GAURANTEED. MUSH (passing RACETRACK) TRY BOTTLE ALLEY OR THE HARBOR.) CRUTCHY Jack. It’s just there are so many fake crips on the street today. BUM OR BARBER. JACK heads over to the washbasin and takes a place next to CRUTCHY. RACETRACK (passing JACK) TRY CENTRAL PARK. JACK (passing SKITTERY) TRY ANY BAKER. does it look like I’m faking it? JACK No. KID BLINK (passing CRUTCHY. who is still sitting at the washbasin) I SMELL MONEY! CRUTHCY (looking up from the wash basin) YOU SMELL FOUL! MUSH (reaching in front of CRUTCHY for soap) MET THIS GIRL LAST NIGHT… CRUTCHY (to MUSH) MOVE YOUR ELBOW! RACETRACK (face covered in soap) PASS THE TOWEL! SKITTERY (jumping up on a chair with a towel in hand) FOR A BUCK I MIGHT! 11 . SKITTERY (passing KID BLINK) THEY ALMOST ALL KNOWS HOW TO READ.

CRUTCHY (stepping forward) I’M NO SNOOZER! SITTIN’ MAKES ME ANCY I LIKES LIVIN’ CHANCEY NEWSIES 12 . etc.) AIN'T IT A FINE LIFE CARRYING THE BANNER THROUGH IT ALL? A MIGHTY FINE LIFE CARRYING THE BANNER TOUGH AND TALL EVERY MORNING. Various accouterments of city life are already happening in the street: A shoeshine. They are now on the streets of New York heading off to work. AIN'T NATURE FASCINATING WHEN YOU'S GOTTA WALK? GROUP ONE STILL. WE GOES WHERE WE WISHES WE'S AS FREE AS FISHES SURE BEATS WASHIN' DISHES WHAT A FINE LIFE CARRYIN’ THE BANNER HOME-FREE ALL! (the NEWSIES leave the lodging house and head toward Newsies Square. the NEWSIES all do a simple dance that will be the basis for the rest of the song. a family on a walk. IT'S A FINE LIFE CARRYING THE BANNER WITH MY CHUMS A MIGHTY FINE LIFE BLOWING EVERY NICKEL AS IT COMES.) JACK IT TAKES A SMILE AS SWEET AS BUTTER CRUTCHY THE KIND THAT LADIES CAN’T RESIST RACETRACK IT TAKES AN ORPHAN WITH A STUTTER JACK THAT AIN’T AFRAID TO USE HIS… KID BLINK FIST! NEWSIES SUMMER STINKS AND WINTER'S WAITING WELCOME TO NEW YORK BOY. GROUP TWO (echoing) IT’S A FINE LIFE CARRYING THE BANNER WITH MY CHUMS A MIGHTY FINE LIFE BLOWING EVERY NICKEL AS IT COMES.NEWSIES (At this point. A curtain closes to cover the lodging house set while the NEWSIES continue in the next setting.

SHE realizes how much SHE truly misses HER son. IT'S HOT! WILL YA TELL ME HOW I’M GONNA MAKE ENDS MEAT! NEWSIES WE NEED A GOOD ASSASSINATION! WE NEED AN EARTHQUAKE OR A WAR! SNIPESHOOTER (steps out) HOW ‘BOUT A CROOKED POLITITION? 13 .) NEWSIES IF I HATE THE HEADLINE. CRUTCHY I GOTTA SELL MORE PAPES.) PATRICK’S MOTHER PATRICK. The NEWSIES continue.HARLEM TO DELANCEY WHAT A FINE LIFE CARRYIN’ THE BANNER THROUGH THE SLUMS. The curtain closes. (Through the course of the previous section. The NEWSIES part to reveal the NUNS as THEY sing…) NUNS BLESSED CHILDREN THOUGH YOU WONDER LOST AND DEPRAVED JESUS LOVES YOU. As SHE passes each NEWSIE. PLEASE. I'LL MAKE UP THE HEADLINE AND I'LL SAY ANYTHING I HAFTA 'CAUSE IT'S TWO FOR A PENNY. (Sung in counterpoint) GROUP ONE LOOK! THEY'RE PUTTING UP THE HEADLINE THEY CALL THAT A HEADLINE? I GET BETTER STORIES FROM THE COPPER ON THE BEAT I WAS GONNA START WITH TWENTY BUT A DOZEN'LL BE PLENTY TELL ME HOW I’M GONNA MAKE ENDS MEAT! GROUP TWO WHAT'S IT SAY? THAT WON'T PAY! SO WHERE'S YOUR SPOT? GOD. YOU SHALL BE SAVED! (PATRICK’S MOTHER makes HER way through the NEWSIES looking for HER son. DARLING SINCE YOU LEFT ME. The following parts are sung in counterpoint. The NUNS pass out food to the NEWSIS. MUSH I GOTTA FIND AN ANGLE GROUP ONE PAPER IS ALL I GOT SURE HOPE THE HEADLINE’S HOT GOD HELP ME IF IT’S NOT KID BLINK SOMETHING TO WAKE ME UP GROUP TWO WISH I COULD CATCH A BREEZE ALL I CAN CATCH IS FLEAS SOMEBODY HELP ME. a trio of NUNS has set up an area for service to the needy behind THEM. I AM UNDONE MOTHER LOVES YOU GOD SAVE MY SON! RACETRACK JUST GIVE ME HALF A CUP. (PATRICK’S MOTHER exits crying as the NUNS exit in a mission to find another place to serve the needy. IF I TAKE TOO MANY WEASEL JUST MAKES ME EAT THEM AFTER.

Across the street is a statue of Horace Greeley sitting in a chair. (the following parts are sung in counterpoint) GROUP ONE STILL WE'LL BE OUT THERE CARRYING THE BANNER MAN TO MAN! GROUP TWO LOOK. HITCHED IT ON A TROLLEY. THAT AIN’T NEWS NO MORE! UPTOWN TO GRAND CENTRAL STATION DOWN TO CITY HALL WE IMPROVES OUR CIRCULATION WALKIN’ TILL WE FALL. The DELANCY’S are goons hired by the World to keep the NEWSIES in line. THEY'RE PUTTING UP THE HEADLINE THAT A HEADLINE? THE IDIOT WHO WROTE IT MUST BE WORKING FOR THE SUN DID YOU HEAR ABOUT THE FIRE? HEARD THE TOLL WAS EVEN HIGHER. The DELANCY’S make life for the NEWSIES miserable. home of Newspaper Row and the World headquarters. BOOTS (egging HIM on) Nah…Too rotten to be the sewers. By the looks in THEIR faces. PEOPLE stand below reading the boards and waiting for the papers. The NEWSIES wait for the World gates to open so that THEY can get THEIR papers to sell. AT THE COURTHOUSE. WHY DO I MISS ALL THE FUN? MEET YOU FOURTYFOURTH AND SECOND BLEECKER’S FURTHER THAN I RECONED (The NEWSIES arrive en masse at Newsies square. LITTLE ITALY’S A SECRET. We see TWO MEN writing the day's headlines in chalk. Above Newspaper Row are two huge blackboards. we see instantly that JACK and the DELANCY’S are archrivals.) RACETRACK (obviously making fun of the DELANCY BROTHERS) Dear me! What is that unpleasant aroma? (SNIPESHOOTER smells HIS armpit) I fear the sewer may have backed up during the night. NEAR THE STABLES ON THE CORNER SOMEONE BECKONED AND I… YES.NEWSIES (The NEWSIES throw stuff at SNIPESHOOTER. The DELANCY BROTHERS arrive in the square and spot JACK.) HEY STUPID. 14 . WE'LL BE OUT THERE SOAKING EVERY SUCKER THAT WE CAN! SEE THE HEADLINE NEWSIES ON A MISSION KILL THE COMPETITION SELL THE NEXT EDITION WHILE WE'RE OUT THERE CARRRYIN’ THE BANNER IS THE… GROUP THREE HEARD IT KILLED OLD MAN MAGUIRE.

a porch unit comes on. (the DELANCY BROTHERS cuff SNIPESHOOTER and push HIM toward the back... Out of nowhere. JACK takes SNIPESHOOTER’S hand. nearly crashing into DAVID and LES) DAVID Hey. boldly ignoring the DELANCY’S. JACK sees this and HE moves toward THEM. about to smash HIM into the cobblestones. Not healthy. 15. puts SNIPSHOOTER in HIS place.slow boil. who kisses HER sons goodbye and sees THEM off. JACK (HE approaches OSCAR) You shouldn’t call people lousy little shrimps.CRUTCHY It must be the Delancy Brothers! (the NEWSIES all laugh and poke fun as the BROTHERS walk by) RACETRACK Hiya. a bit wary of the world. catching LES' eye. helps HIM to HIS feet and walks HIM back to the front. So’s this. It’s an insult. sending THEM sprawling. boys! (SNIPESHOOTER steps up to THEM) OSCAR (to SNIPESHOOTER) In the back. (JACK knocks MORRIS' hat off HIS head. you lousy shrimp. RACETRACK (the NEWSIES see the confrontation brewing. DAVID and LES arrive UR into the street scene. JACK tears out from behind the Horace Greeley statue. JACK. with dark intense eyes. HE takes off HIS hat to start a gamble) Five to one says that Cowboy skunks them. We see a loving MOTHER on the porch with HER TWO SONS saying goodbye for the morning. watch it! What are you doing? JACK Running! (JACK turns and smiles at DAVID. The older son DAVID. The DELANCY’S chase JACK around the Square to the thrill of the NEWSIES . the DELANCY’S grab JACK and lift HIM high into the air. DAVID and LES put THEIR caps on and say goodbye to THEIR mother ESTHER. a fading Polish beauty. LES. The BOYS exit as the porch unit is pulled off. The pursuing DELANCY’S can't stop in time and crash into DAVID and LES. Who’s betting? JACK That’s right. unless you’re referring to the family resemblance in your brother here. RACETRACK turns to the NEWSIES around HIM. The CROWD stops breathing as. DAVID JACOBS. HE’S a keen observer. The following action takes place throughout the rest of the number: 15 . The BROTHERS watch turning red . On the DR side of the stage.) RACETRACK It’s not good to do that. There is excitement in the air. has an innocent enthusiasm. 38. before the World gates.a morning tradition. HIS kid brother. 10. JACK turns and faces THEM. Oscar.

loving the show as JACK avoids the BROTHERS. like a monkey. moving from bar to bar. fascinated with JACK’S antics. At the gate.) 16 . JACK taunts the BROTHERS. high above the CROWD. The NEWSIES howl. savoring the moment. DAVID and LES watch amazed.JACK grabs the bars of the gate and. jerks free of the DELANCY’S grasp.

then leaps into the back of a wagon. a set piece that looks somewhat like a bank teller’s window has been brought on DL. NEAR THE STABLES ON THE CORNER SOMEONE BECKONED! GO GET 'EM COWBOY! YOU’VE GOT ‘EM COWBOY! GO GET 'EM COWBOY! YOU’VE GOT ‘EM COWBOY! NEWSIES GO! (During the previous section. Segue to next scene during the following dialogue. Race.) RACETRACK Brilliant. The huge gates begin to slide open and JACK hangs on. Better than yesterday. You’re too kind. A WORLD EMPLOYEE enters on one of the last few lines of the song carrying a huge stack of papers. The opening production number ends and the moment is broken when a bell inside the World Building rings out. OTHERS yell out HIS name as HE rides them until the last possible moment. which signals the final chord of the song. JACK (standing up in the wagon) You are too kind to me.) WORLD EMPLOYEE These are for the Newsies! (HE slams the papers on the counter. MORRIS 17 .GROUP ONE IT'S A FINE LIFE CARRYING THE BANNER THROUGH IT ALL A MIGHTY FINE LIFE CARRYING THE BANNER TOUGH AND TALL SEE THE HEADLINE NEWSIES ON A MISSION KILL THE COMPETITION SELL THE NEXT EDITION WHAT A FINE LIFE CARRYING THE BANNER! IT’S A FINE LIFE CARRYING THE BANNER IT’S A FINE LIFE CARRYING THE BANNER IT’S A FINE LIFE CARRYING THE BANNER IT’S A FINE LIFE CARRYING THE BANNER (sung in counterpoint) GROUP TWO WOULD YOU LOOK AT THE HEADLINE YOU CALL THAT A HEADLINE? I GET BETTER STORIES FROM THE COPPER ON THE BEAT I WAS GONNA START WITH TWENTY BUT A DOZEN'LL BE PLENTY WOULD YOU TELL ME HOW'M I EVER GONNA MAKE ENDS MEET HITCHED IT ON A TROLLY MEETCHA FORTY-FOURTH AND SECOND LITTLE ITALY'S A SECRET BLEECKER'S FURTHER THAN I RECKONED BY THE COURTHOUSE.

Cowboy! 18 . Cowboy.See you tomorrow. OSCAR You’re as good as dead.

Inside the DELANCY BROTHERS bristle at JACK’S boldness. (WEASEL angrily rips JACK’S hand off the coin and barks at OSCAR. Mr.) Next! 19 . Weasel? Huh. Mr. JACK turns to the smiling NEWSIES. WEASEL (off stage) Alright. including RACETRACK. The NEWSIES move through the gates and up the steps to the loading dock where the papers are loaded into wagons. OLDER BOYS cut in the front. HIS cudgel close at hand. HIS moment over. The NEWSIES laugh. BOOTS and MUD to HIS right and left. Alright.) WEASEL A hundred papes for the wise guy. wags HIS eyebrows for a laugh and sees LES staring at him. I’m perusing the merchandise.Scene Two (The following action occurs during the previous dialogue: DAVID and LES enter the courtyard. On the roof of the wagon. JACK saunters up to the head of the line. WEASEL. Weasel. Taking HIS good old time. (OSCAR slams the papers on the counter. From behind the window where the papers are dispensed. picks up a paper and scans the headlines. steps forward. (The NEWSIES snicker. I’m coming. MUSH. LES keeps HIS eyes on JACK. DAVID and LES take their place. Wisely to you. The humiliated DELANCEY BROTHERS push through the line and enter the circulation office late for work again. with no protest. JACK watches the NEWSIES line up for papes. Mr. We are now in the loading dock for the distribution center. (HE opens up the window.) WEASEL (irritated) I told you a million times: the name’s Wisely. Weasel. WEASEL sits as the NEWSIES fight for positions in line. did you miss me. JACK picks them up and steps aside. Hold your horses. JACK leans on the counter and begins banging on the window.) JACK (sarcastically) So. did you miss me? (WEASEL burns. Behind HIS window. JACK pulls it away. and CRUTCHY. (HE begins to count papers) How many? JACK Don’t rush me. JACK lowers and folds the paper and finally holds up a fifty-cent piece. JACK leaves HIS hand on the coin. HIS new hero. DAVID is wary of this wild street bandit. JACK winks at LES and LES smiles. DAVID is still mistrustful of this wild street kid. I’m coming.) The usual. JACK turns. WEASEL reaches for it. DAVID pulls LES towards the gate and into line. disgusted. fascinated. then slaps it on the table. Flushed from HIS escape. WEASEL is impatient.) JACK Oh. In the courtyard below.

please. in the background. BOOTS and RACETRACK all scan the papers looking for the catchy headlines as DAVID and LES. move to the window. You won’t waste your money. Crutch…I made it up. WEASEL (leaning in and whispering) It’s a sure thing? RACETRACK Yeah. (JACK finds a headline.) RACETRACK See anything good this morning? BOOTS (looking through the paper) “Chief Devery on the take?” JACK (shaking HIS head) Greasin’ cops ain’t news. Mr. LES stands to the side still watching JACK. do me a favor: spot me fifty papes? I got a hot tip in the fourth. JACK knuckles HIS head. (THEY laugh at CRUTCHY'S gullibility.) DAVID Twenty papers.” CRUTCHY (taking it seriously) She did? JACK No. WEASEL (calling to OSCAR) Fifty papes! Next! CRUTCHY (stepping up to the window) Hi. watching JACK and the others. RACETRACK (still looking for headlines) 20 .RACETRACK (stepping up to the window) Morning. A NEWSIE leaves the window with a stack of papers as DAVID steps up to the window. your honor! Listen. Another NEWSIE steps up to the window) Here’s one: “Mother Gives Birth to Cow. Wisel. CRUTCHY leaves the window and heads over to where JACK. Not like last time. (The action shifts to a place along the loading dock where JACK. RACETRACK and BOOTS and sitting.

) Another fifty for my friend here. I mean.) JACK Nineteen. I just want my paper. JACK Sure you do. (WEASEL glares. A hush settles over the NEWSIES as LES looks around nervously at the staring NEWSIES. DAVID [grabbing HIS papers] and some of the GANG follow.Look at this: “Baby Born with Three Heads”. But don't worry about it. (DAVID sweats. JACK steps up beside DAVID and slams HIS hand down on the little stack of papers. JACK closes HIS eyes and thumbs the stack. deciding whether a confrontation with JACK is worthwhile. Weasel. Must be from Brooklyn. JACK calls to RACETRACK) Hey Race. DAVID jumps. I don't take charity from anyone. One of your bums can’t add.) WEASEL (calling for the next NEWSIES) Next! (JACK jumps down from the loading dock and heads for the gate. It's an honest mistake. (a commotion at the window draws THEIR attention.) DAVID I don't want your papes. At the circulation window DAVID holds HIS ground as WEASEL leans challengingly into HIS face. WEASEL throws another fifty papes onto DAVID’S stack. LES. kid? (LES nods confused. OSCAR and MORRIS chuckle in anticipation. HE decides against it. (to LES) Right. JACK places the coins on the counter. DAVID and LES hurry to catch up to JACK. 21 . will you spot me two bits? (RACETRACK throws HIM some coins. DAVID I don’t want another fifty. Every Newsie wants more papes. MORRIS (stepping up to the window) He said beat it. WEASEL Are you accusing me of lying. now beat it! DAVID (gulps) I paid for twenty and I only got nineteen. Morris here can't count to twenty with his shoes on. kid? DAVID No.) WEASEL You got your lousy papes.

younger sells more papes and… (to DAVID) …if we're gonna be partners. (LES is crushed) You see. We sell together. which is what me mudder called me. JACK Yeah. LES Cowboy. and this is my brother. (the GANG stops behind DAVID and LES as DAVID holds out HIS hand. the hot spots. you owe me two bits right? Well.) What do they call you. we wanna be the best. I don't know you. He’s older. no charge. teach you some tricks and keep you from gettin' shiners. plus you get the benefit of observing me. DAVID Why do I need you? CRUTCHY Why do you need air to breathe? BOOTS Exactly. THEY shake hands. including Jack Kelly. If anyone asks. JACK Near ten. you're seven. To LES. that's no good. Who said anything about being partners? JACK Well. DAVID Ah-ha. JACK No kidding.(trying to hand HIM the extra papers) Here are your papes. JACK (mocking) Ah-ha. I'll consider that an investment. we split seventy-thirty. 22 . They call him Cowboy. kid? LES Les. DAVID Wait. Well. I'm called that and a lot of other things. I don’t care to. David. JACK I'll show you the ropes. How old are you? LES Me? Near ten.

we got a deal? DAVID Wait. respecting HIS courage. JACK Sixty-forty. Dave. You learn from Jack. (to LES) So what do you say Les? You wanna sell papes with me? LES (excitedly) Yeah! JACK (JACK smiles and looks at DAVID. but I ain't got a cute little brudder like Les here to front for me. DAVID (hesitates. the rest of the NEWSIES have gotten THEIR papers and are moving out into the street. You know. (A GIRL hurries past and the NEWSIES take off THEIR hats and make a few comments) Gentlemen.) JACK Listen.) JACK The name of the game is volume. Without Newsies. JACK spits on HIS hand and reaches for DAVID’S.CRUTCHY You're getting the chance of a lifetime here. nobody knows nothing. Take it or leave it. You only took twenty papes.) So. we could move a thousand papes a week. the suckers is waiting. you learn from the best. we're what holds this town together. pal. Why? DAVID Bad headline.) What’s the matter? DAVID That’s disgusting. (a beat and then DAVID holds out HIS hand. JACK That's the first thing you gotta learn: Headlines don't sell papes. if he's the best. (By this time. (takes LES to HIS side) With this kid's puss and my God-given talent. bravely) Well. Newsies sell papes. Davey. I don't need you. then how come he needs me? (JACK smiles at DAVID. who pulls HIS arm away. SPECS (calling out a headline) 23 . DAVID is still dubious. It’s got to be at least fifty-fifty.

) 24 . The NEWSIES may find THEIR own path out of the theatre. LES and JACK are to exit through the audience. The NEWSIES are to continue barking headlines as THEY exit the theatre and segue into the next scene. DAVID.‘Baby born with three heads!” (The NEWSIES begin to yell out various headlines as THEY spread out over the streets.

Victory means everything. EMPLOYEE News is slow. The trolley strike's all we've got. Chief. an uptight English starchy. Mr. when I created the World… (by now the noise has grown…but not too loud) What is that deafening noise? JONATHAN Just the Newsies.) PULITZER How do they get so dirty? JONATHAN They don't bathe. (JONATHAN makes a note.) Look! Look! EMPLOYEE We'll get a new headline writer. I'll go have them quieted. as HE stands in all HIS luxury at a window looking down at the street. the ‘NOISEMAKERS’ should slowly inch THIER way towards the door making the noise grow and can therefore segue into the next scene as this scene draws to a conclusion. PULITZER Only the poor abandon their children. It's not the headlines.) 'Trolley Strike Drags On For Third Week' and this so-called headline drags on for infinity. By HIS side is HIS secretary JONATHAN. Also in the room are SEITZ and another WORLD EMPLOYEE. PULITZER sits at HIS desk and reads the morning headline. newspaper magnate and owner of New York World. 25 . The circulation wars are cutting into our profits because you spend as much as you make trying to beat Hearst. sir. As the scene progresses. PULITZER Well. 35. William Randolph Hearst has too. but look how he covers the strike. nearly blind. SEITZ That's how he stole him from us. (JONATHAN nods) Is there another place for them to congregate? I hate seeing them. a massive desk and a golden dome that reflects golden light onto: JOSEPH PULITZER.Scene Three (We are now inside Pulitzer’s office at the top of the World Building. Pulitzer. holds heavy-lensed glasses on a holder up to HIS eyes and squints. DAVID. PULITZER Then we need to make more money. 52. The penthouse. (picks up a different newspaper and shoves it in the EMPLOYEE’S face. Irreplaceable works of art. HE sees JACK. In this scene there should be the noise of hustle and bustle happening somewhere in the distance of the theatre [perhaps in the far corner of the lobby away from the audience as not to distract too much]. You do not penny-pinch when you're in a war. Pulitzer. LES and other NEWSIES begin THEIR day. Offer him double. PULITZER Steal Hearst's man. PULITZER. that's all Mr. sir. Now. Seitz. Mr.

PULITZER (HE gets up and goes to the window and looks out at the NEWSIES selling papers. I want to know how I can get more of it... gentlemen. Where was I? SEITZ Creating the World. (segue) 26 .PULITZER Never mind the Newsies. Chief.by tonight.) There's lots of money down there.

HE steps away from JACK. LES runs to THE LOVERS. (JACK smiles and whispers in LES’S ear. TWO LOVERS spoon on the steps of a building. keep moving. (calls) Extra! Ellis Island explodes! (DAVID is offended.) LES A dime! (JACK takes the dime. buy a pape! (suddenly JACK jumps atop a crate.) Extra! Extra! Ellis Island explodes! (DAVID looks skeptically at HIM. The MAN looks at LES murderously. (HE grabs DAVID by the arm who in turn grabs LES by the arm and leads THEM to another spot on stage. Trash fire next to the immigration building. DAVID They don't want a paper. A good tip. I spot an opportunity. kid. NEWSIES have entered from all areas of the theatre barking headlines. Shouting and singing in pidgin English and countless other tongues. DAVID and LES enter UR and cross DL. The rumor spreads in several languages.) LES Brooklyn Trolley crushes baby! (the LOVERS spring apart. (The BOYS are catching JACK'S rhythm and movements as THEY weave through the CROWD chanting/singing the headlines.) JACK Keep it. and enjoy life. You earned it. DAVID looks at JACK with wary respect. guaranteed. to DAVID) Page nine. gives it back to HIM. LES holds out a paper. LES runs happily back to DAVID and JACK. dance-like. filled with VENDOR'S carts selling everything from candy to suspenders. JACK just smiles as eager BUYERS rush to HIM. 27 .) DAVID & LES Crooked cops! Bulls on the take! JACK Spring a penny. On the DR side. An open-air market. I like to work the angles. yells. LES' face falls. Low. The MAN tosses a coin at LES to get rid of HIM. some Newsies got corners and regular customers and they know exactly what they'll sell every day. I'll show ya some more. moves close. Me. I sell a pape. (points at the TWO LOVERS) Look.) C'mon. as HE weaves a spell over DAVID and LES. HIS movements are fluid.) JACK The thing is. JACK sees this. and shouts ear-splittingly.Scene Four (We are now on the street. JACK walks as if HE owns the block. That's the advantage of being an independent businessman. JACK.

I told you. No drinkin' on the job. mista? JACK Heartbreakin'! Get 'em.. Number one rule. holds out the single newspaper. like I tol' ya? (LES nods) Show me again. JACK takes money from HIM. The BOYS move over to the door and shove LES in. A saloon door has been moved on stage. (LES runs back inside..) DAVID Somebody spill beer on you? LES I drank some.) MCSWAIN (pointing to JACK.. LES turns to JACK and DAVID and winks. to SNYDER) There's your pal. 28 .) DAVID We were taught not to lie. 49. LES comes running out of the saloon with no papers. JACK and DAVID wait outside. That's how I got the quarter. DAVID waits nervously. ONE WOMAN gives LES a kiss. DAVID (admonishingly) Les. SNYDER has the intensity of a religious fanatic. MCSWAIN sees JACK and DAVID outside the saloon.) A quarter! He gave me a quarter! (DAVID leans and sniffs at LES. WOMEN with funny hats fawn over LES. enter the scene. JACK I was taught not to starve to death in the gutter. DAVID looks at JACK disapprovingly. and a burly 55 year-old Irish cop. JACK (stern) Hey! Look. dead serious. coughs and says pathetically) Buy me last pape. CAPTAIN MCSWAIN. papers are handed to CUSTOMERS. hands HIM a paper. LES runs back inside. DAVID rolls HIS eyes. Money handed back to LES [repeat twice].. NIGEL SNYDER. LES (HE assumes a bedraggled look. From the right side of the audience. JACK reads a battered dime western novel. kid. Who ya gonna believe? LES (emerges from the saloon. Ya hear? (LES nods. a black-suited man. JACK gives LES another paper.Now.) Startin' in back.

The THREE BOYS race across the front of the audience and make noises as THEY run behind the audience seating. DAVID glances up the sidewalk and notices SNYDER and MCSWAIN hurrying toward them. We are now inside a tenement building. warning THEM) Sleeper! (THEY nimbly jump the SLEEPER. HIS ears go crimson. Also. HE goes after JACK. JACK pops HIS head over the top of the wall and calls THEM over. MCSWAIN and SNYDER in hot pursuit. Blind Man’s Alley raises to reveal the street once again. some lights might flash and such to make it look as if THEY are running in and out of shadows. JACK jumps the wall screaming as if HE has just jumped from the top of the building. The BOYS race up the creaky stairs. HIS smile disappears. MCSWAIN. DAVID and LES sprint toward them. follows. hop over and hit the floor just as SNYDER and MCSWAIN enter. DENTON and the SEVEN BLIND PEOPLE. A ramp is at the end of this wall for easier access to the auditorium ground. A short wall unit has been rolled on to the front of the stage. We are now in Blind Man’s Alley. Dank and dark.) LES (as HE is running) All this for one sip of beer? JACK (hears THEM behind HIM and yells over HIS shoulder) Beat it! They don't want you! (THEY follow HIM anyway. THEY exit the stage and enter again from one of the side doors on the side of the stage. As JACK. LES runs after HIM. but it must cover enough area to house the THREE BOYS. JACK. a backdrop covered in bricks has fallen from the ceiling to make this look like an alley. THEY stand and block THEIR way. JACK.) 29 . THEY can run in place. DAVID and LES are in shock. DAVID and LES run to the wall. hey Danny! (DANNY senses the urgency in JACK'S voice as HE passes and when THEY hear the heavy footsteps of the law behind THEM. SNYDER and MCSWAIN have to slow down cautiously moving between THEM. run up and down various stairways of varying sizes down a hall past other ghostly FIGURES and then fly down more steps and out another door.) SNYDER (calling out) Sullivan! Wait ‘til I get you back to the Refuge! (Blackout. As LES exits. through wagon traffic and exit the stage and come in through one of the side doors where a small stairway has been rolled on. Other items resembling a rooftop are brought on. at home. MCSWAIN and SNYDER blow THEIR whistles. all with dark glasses and white canes. SNYDER. DENTON photographs SIX BLIND MEN and ONE BLIND WOMAN.) DAVID We doing something wrong? (JACK turns sees SNYDER and MCSWAIN only a few feet away. JACK yells out to one of the MEN) Hey. DAVID and LES race across the crowded street. The drop does not have to cover the entire stage. MCSWAIN.(SNYDER looks and sees JACK: instant hate. hops over a MAN slumped on the landing. DAVID grabs papers and follows THEM. reluctant. but there must be enough distance between THEM. At the front of the stage. if THEY are running. JACK stands and starts running.

Why was he chasing you? JACK 'Cause I escaped. I'm just waitin' for the word and I'm on the ol' Santa Fe Trail myself. Jack Kelly. Shows LES. DAVID You were in jail? JACK I stole some food. you have a way of improving the truth. LES Oh boy! How? 30 . DAVID He called you Sullivan.. JACK Well.. (a beat) You think I'm lying? DAVID Well. my name's Kelly. (DAVID skeptical) . LES You're gonna be a cowboy? JACK Like Wild Bill Hickock. That guy chasing me was Snyder. (crosses HIS heart) Truth.] DL a door labeled ‘Stage Door’ is dimly lit by a lamp post close by. My dad and him went to get settled. he’s the warden..) DAVID Who was he and why was he chasing you? And what is this Refuge? JACK The Refuge is a jail for kids.to feed my kid brother. Except I'll learn to ranch. but there is no light on the actual stage.) Out west.Scene Five (The stage is now set as Irving Hall.. All the lights are on the THREE BOYS who are walking the street [which is happening in front of the stage on the auditorium floor. LES Where's your brother? JACK (pulls the dime novel from HIS back pocket. With the Cowboys. headin' west.

Segue to next scene. JACK Not bad.) MAX If anybody gets hurt. Give me a break.) 31 . looks around. JACK No. JACK turns and waves DAVID and LES on. Right.) How much we got? DAVID (pleased) Two dollars and seventy-five cents. (MAX hesitates. FAT MAX enjoys talking to the BOY. and then nods. this big shot gave me a ride out in his carriage. DAVID Show? JACK (signaling to the door) At the Irving.. Teddy Roosevelt. 65. Don't want to eat the leftovers. MAX looks up at THEM. my ass is. DAVID counts. It's new tonight. remembers the papers and grabs them on HIS way up stairs. (DAVID and LES stand on the sidewalk watching JACK at the backstage door talking to the stage manager.. Jack.JACK Well. JACK Won't happen Max. all THEY made that day.) JACK Gotta sell these. (DAVID starts to complain as JACK starts to the door. DAVID (sarcastically) I bet it was the mayor. THEY hurry to HIM and enter. I'm a reg'lar customer. FAT MAX COHEN. Les? (HE goes to the backstage door) LES Whatever you say. You ever heard of him? (JACK empties the change from HIS pockets into HIS hands. Let's see the show.

Medda… MEDDA Yes. aren't you the cutest little thing there ever was? Yes you are. JACK (grabbing HER hand and introducing HER) And this is the greatest star of the vaudeville stage today. what do we have here? Oh. lady? MEDDA (SHE looks at JACK recognizing the sales pitch and then looks back at LES) Oh. 32 . Where ya been. gentlemen. (SHE curtsies) JACK Medda also owns the joint. So. would you Medda? MEDDA Oh. Speaking as one professional to another. (LES begins to cough and do HIS usual sales pitch) MEDDA Oh. I'd say you have a great future. kid? (SHE hugs JACK) Oh. We are now inside Irving Hall. TWO MEN juggle as a plump scantily clad WOMEN gestures and points at THEM. MEDDA Welcome. LES (cough) Buy me last pape.) MEDDA What's going on down there? Out! Out! Out! JACK You wouldn't kick me out without a kiss goodbye. Miss Medda Larkson. you are good. Oh yes. this kid is really good. the Swedish Meadowlark. JACK Hanging on your every word. I miss seeing you up in the balcony.Scene Six (THE BOYS enter. Kelly. JACK This is David and Les. (THEY bow) MEDDA Hello.

THE BOYS begin to climb back down to the stage and make THEIR way to the back door of the theatre and back out to the street.) My Lovey Dovey Baby MEDDA MY LOVEY DOVEY BABY I BOO-HOO-HOO FOR YOU I USED TO BE YOUR TOOTSIE-WOOTSIE THEN YOU SAID 'TOOLDLE-DEDOO' I MISS THE HANKY-PANKY EACH NIGHTY-NIGHT TIL THREE COME BACK MY LOVEY DOVEY BABY AND COOCHIE-COO WITH ME (After the show. My parents are going to be worried. Miss Medda Larkson. She is beautiful. stay as long as you like. just give my guests whatever they want. DAVID and LES are in heaven sitting with JACK on the catwalk above the stage straddling the ropes as THEY watch the show below. pleased.) JACK So. The dialogue should cover the scene change so that the blackout at the end will only have to be long enough for JACK.’ The stage should be black so that the set for David’s house can be set up without distracting from the action. The Swedish Meadowlark. I loved that.JACK (getting back to business) So. JACK I'll walk with ya. LES is packing away the candy. DAVID and LES to make it to the doorway of the apartment. ANNOUNCER (V. Medda? Just until a little problem outside goes away. The sensational songbird.) 33 .O. (MEDDA goes on stage. MEDDA Sure. It was great. (to MAX) Max. (THEY step out the door and notice it is now nighttime. How do you know her? JACK She was a friend of me fadder's. it's getting late. (THEY start off together.) And now gents. the moment you've all been waiting for. JACK glances at HIS new friends.) DAVID Oh. THE BOYS climb up a ladder and sit amongst the rigging above the stage. you like that? DAVID Oh. is it all right if we stay here for a little while. The lights shift back to ‘street lighting.

(JACK immediately passes LES back to DAVID.. (JACK goes to pick HIM up. THEY walk to the other side of the stage [on the street]. (pause) What floor ya on? DAVID Fifth. Blackout.) 34 . Want me to take'm? JACK Nah.LES (grabbing HIS stomach) I don’t feel so good.) DAVID (halfway) Next building. DAVID and JACK exchange a smile and then walk off.I got'm..

turns from HER piecework and faces us. Jack. (JACK looks at SARAH quickly then back to MAYER. but you're welcome to join us. ESTHER My God. SHE’S pale and pretty with dark almond shaped eyes and olive skin. (motioning to SARAH) …and that's Sarah. quietly) 35 .. ESTHER JACOBS. (ESTHER rushes to HER baby as DAVID'S sister. he's just sick to his stomach. then counts it. HE sees LES is alright and gives JACK the once over. then smiles at JACK. DAVID It's okay. DAVID'S father. HER hand comes to HER mouth in fright. MAYER acts like HE robbed a bank. A home. Les.) MAYER (to SARAH. 18... accent colors HER speech.. During the excitement JACK just looks around at the apartment. relieved but angry.) Maybe just a bowl. Crowded. DAVID’S mother.. awkwardly folds HIS newspaper with one bandaged arm in a sling.. SARAH stands and looks at JACK. JACK looks HER straight in the eye.and speechless. 43.. JACK I don't know. Momma. To MAYER) Jack. To HIM the Taj Mahal.Scene Seven (David’s apartment.) MAYER (amazed) Ninety-five cents? (DAVID nods) You can make that everyday? JACK More. DAVID Today we were just learning. MAYER... It hits HIM hard. MAYER (MAYER looks at ESTHER. at once defensive and curious. Food on the stove. (DAVID pulls out HIS change and puts it on the table. DAVID sees HIS father looking at JACK. in awe of HER beauty. Two windows to a fire escape look into the alley. (ESTHER adds water to the pot. sheets on the bed. A warm one-room apartment which serves as both working and living area. SARAH.I'm sorta expected. My sister. and I are partners.) This is my friend Jack. (MAYER shakes hands with JACK as ESTHER lays LES on HER bed. 38 looks up from HER piecework as the door opens and DAVID carries LES inside. (to JACK) My parents.) We've only got soup.. clean and well ordered. proud. Home.

MAYER (to the FAMILY) This is going to heal. JACK What happened to the arm? (MAYER hesitates) 36 . ESTER (playfully hitting HIM on the arm [not the broken arm] with HER towel) That's for your birthday tomorrow! MAYOR Well. son. MAYER You'll only work until I go back to the factory. DAVID (getting up) I'll get the knife.Sarah? Go get the cake your mother's hiding in the cabinet. SARAH I got the plates. and then you are going back to school. but doesn't wake up in bed. SARAH (bringing the cake to the table. I've had enough birthdays. (LES stirs. papa. THEY all begin to eat. DAVID (gathering up silverware) This is only the beginning. papa.) LES COME BACK MY LOVEY DOVEY BABY AND COOCHIE-COO WITH ME (DAVID and JACK start laughing) ESTER And what is this David? (THE BOYS try to stop laughing. and they'll give me my job back. SHE kisses him on the head) Happy birthday. like you promised. but can't. But I have worked as a tailor. The longer I work. This is a celebration. the more money I'll make.) JACK (changing the subject) What do you do for a living. sir? MAYER (pats his arm) Not much with this arm.

JACK and DAVID exit to the fire escape. MAYER goes back to reading HIS newspaper. Segue to next scene. But sometimes that makes it hard to make a living. ESTER goes over to LES. (THEY all get up from the table. SARAH clears the table.DAVID He was striking. They busted it for him.) 37 . MAYER I try to do what's right.

ESTHER. (to JACK) Jack. then starts back inside the open window. remembering what HE’S missed. JACK and DAVID look out over the city. stops and looks back. DAVID (hesitates. in counter point.) See you tomorrow. WHO SAID YOU NEEDED ONE? AIN'T YA GLAD NOBODY'S WAITING UP FOR YOU? WHEN I DREAM ON MY OWN I'M ALONE. sings a lullaby to LES. DAVID Carrying the banner. (HE continues down the fire escape. like mine. JACK Alright. why don't you stay here tonight? JACK Ah. DAVID slips inside and closes the window. BUT I AIN'T LONELY FOR A DREAMER. HE listens to ESTHER sing a Lullaby. JACK Carrying the banner. begins to sing too.. JACK looks longingly back inside at the warmth. thanks.) SO YOU AIN'T GOT ANY FAMILY WELL. DAUGHTER. watching SARAH. (JACK nods.) MAYER (from inside the apartment) David. FADDER.Scene Eight (We are now on the fire escape outside DAVID’S. But you're family's real nice. then.) Santa Fe SO THAT'S WHAT THEY CALL A FAMILY MUDDER. no. JACK starts down. JACK. inside.. SON GUESS EVERYTHING YOU HEARD ABOUT IT'S TRUE. I got a place of my own.and SARAH. SARAH sits doing HER own work while MAYER reads the paper. DAVID (to MAYER) Alright. NIGHT'S THE ONLY TIME OF DAY WHEN THE CITY'S FINALLY SLEEPING WHEN MY THOUGHTS BEGIN TO STRAY 38 . It's late.

.) Hiya Race. RACETRACK enters..AND I'M ON THE TRAIN THAT BOUND FOR SANTA FE (drops off the fire escape into the alley below moves to the sidewalk and walks the streets) AND I'M FREE LIKE THE WIND LIKE I'M GONNA LIVE FOREVER. RACETRACK Hey Jack.) WHERE DOES IT SAY YOU'VE GOTTA LIVE AND DIE HERE? WHERE DOES IT SAY A GUY CAN'T CATCH A BREAK? WHY SHOULD YOU ONLY TAKE WHAT YOU'RE GIVEN? WHY SHOULD YOU SPEND YOUR WHOLE LIFE LIVIN' TRAPPED WHERE THERE AIN'T NO FUTURE EVEN AT SEVENTEEN BREAKING YOUR BACK FOR SOMEONE ELSE'S SAKE IF THE LIFE DON'T SEEM TO SUIT YA HOW BOUT A CHANGE OF SCENE? FAR FROM THE LOUSY HEADLINES AND THE DEADLINES IN BETWEEN SANTA FE (dance) SANTA FE. Walking to the entrance of the Lodging House. IT'S A FEELING TIME CAN NEVER TAKE AWAY ALL I NEED'S A FEW MORE DOLLARS AND I'M OUTTA HERE TO STAY DREAMS COME TRUE YES THEY DO IN SANTA FE (PEOPLE slowly begin to walk the streets. ARE YOU THERE? DO YOU SWEAR YOU WON'T FORGET ME? IF I FOUND YOU WOULD YOU LET ME COME AND STAY? I AIN'T GETTING ANY YOUNGER AND BEFORE MY DYING DAY I WANT SPACE NOT JUST AIR LET 'EM LAUGH IN MY FACE. We are now outside the Lodging House. I DON'T CARE SAVE A PLACE I'LL BE THERE (JACK sees TWO COPS coming and instinctively hides in the shadows until THEY pass: HE finishes the song in the dark. HE interacts with PEOPLE as they pass.) SO THAT'S WHAT THEY CALL A FAMILY? AIN’T YA GLAD YOU AIN'T THAT WAY? AIN’T YA GLAD YOU GOT A DREAM CALLED SANTA FE? (JACK gets out from HIS hiding place. JACK 39 . Throughout the song.

How was your day at the track? RACETRACK (THEY walk through the door) Remember that hot tip I told you about? (JACK nods) Nobody told the horse.) 40 . (Blackout as door closes.

SEITZ Yes. He's still afraid of his boys. more like a coach than a business manager. HIS secretary. 45. We take a loss on every paper we sell. sir. PULITZER What do they pay now? SEITZ Fifty cents per hundred.. (PULITZER nods.) 41 . distressed) We could raise the street price to two cents. PULITZER In deference to your imperious sensibilities. PULITZER And coordinate it with Hearst. sir. reads a report in softly measured tones.. Seitz. projected losses.We're winning the circulation war but losing our shirts. Seitz. SEITZ Yes.Scene Nine (Pulitzer’s office.) What would the Newsies do if we raised their price? SEITZ They'd howl for sure. if we held to that course Hearst and the others would stay at a penny and cut our throats. (HE drones on. EVERYONE speaks softly to PULITZER.) PULITZER So... PULITZER sits at HIS desk. (PULITZER spins in HIS chair and looks out over the city. DON SEITZ. Mr.. HIS hand resting on the head of a bronze statue of Napoleon. eyes closed... HIS staff before HIM. advertising revenues down ten percent.. PULITZER’S hearing is so oversensitive that slight noises can fray HIS delicate nerves. PULITZER Charge them sixty. JONATHAN. Strict secrecy. sips quietly at HIS coffee. Mr. (Blackout. but we have people in place to control them.) JONATHAN Circulation up twelve percent.

42 . RACETRACK Come on.) KID BLINK They jacked up the price! You hear that Jack? Ten cents a hundred! You know. Beyond the gates. it’s just a gag. (JACK approaches the window) So. I’m barely making a living right now. A BEAT COP passing. LES. 1899: POLICEMAN KILLED IN TROLLEY STRIKE". The COP separates the FIGHTERS with the help of the BOYS as JACK forces HIS way through the crowd. it’s bad enough that we gotta eat what we don’t sell. The NEWSIES move toward the window to buy THIER morning papes. A fight breaks out. They got all the marbles. We hear the sound of the bells ringing as we see the gates opening to The World loading dock. sees the commotion and runs to it. BOOTS It ain’t fair.Scene Ten (Newsies Square. with a busted nose and a bad eye-tic. slugs it out with MORRIS DELANCEY. Pulitzer? KID BLINK They can’t to this to me Jack. KID BLINK. It’s their stinkin’ paper. now they jack up the price! Can you believe that? SKITTERY This’ll bust me. nose bleeding. it’s a rigged deck. "July 18. MUSH It don’t make no sense. why the jack up Weasel? WEASEL Why not? (HE looks at the sky. MUSH. that’s why! JACK Pipe down. JACK. sees JACK coming. DAVID. We see the headlines being written in chalk. Sarcastically) It’s a nice day. BOOTS. BOOTS I’ll be back sleeping on the streets. MUD. RACETRACK They can do whatever they want. yelling and screaming as the TWO BOYS fall off the loading dock onto the cobblestones below. I mean. why would he gouge us? RACETRACK Because he’s a tight wad. arriving late. Why don’t ya ask Mr. Polish. 15. KID BLINK. sees the action and wades into the crowd. Next morning. The NEWSIES crowd in. all the money Pulitzer’s making. We got no rights at all. RACE. There are chalkboards above Newspaper Row.

MUSH Jack. Let him think. We don’t have a union. JACK But. so why don’t we get our lousy papes while they still got some. Nobody comes through those gates until they put the price back to where it was. One thing’s for sure. if we go on strike. We get all the Newsies of New York together. listen. right? DAVID No. Maybe if we got every Newsie in New York. then we are a union. but… JACK (overlapping) Yeah. we got no choice. like a strike! (DAVID gets a weary look on his face) RACETRACK Are you out of your mind? JACK It’s a good idea! DAVID Jack. I was only joking. you done thinkin’ yet? WEASEL (calling out) Hey! Hey! Hey! World employees only on this side of the gate! (a commotion breaks out) JACK (quieting THEM down) Well. we’re just a bunch of angry kids with no money. Crutchy. (HE sits next to JACK) RACETRACK (after a few seconds) Jack. then nobody sells papes. you take up for collection. huh? JACK No! Nobody’s going anywhere. DAVID (sarcastically) You mean like a strike? JACK (a beat) Yeah. if we don’t sell papes. They can’t get away with this! LES (shoving NEWSIES out of the way) Give him some room. give him some room. We can’t go on strike. well we organize. 43 .

… (turns to DAVID) …you tell us what to do Davey. Tell us what to do! JACK Well. JACK (relaying DAIVD’S message) Hey listen! Pulitzer and Hearst have to respect the rights of the working boys of New York! (the NEWSIES cheer. I mean. So what else? DAVID (to JACK) Tell them that they can’t treat us like we don’t exist. THEY THINK WE’RE NOTHING. they own this city. ARE WE NOTHING? NEWSIES No! 44 . Dave’s right. (grabs JACK by the shoulders) Stop and think about this Jack. DAVID (to JACK) Pulitzer and Hearst have to respect our rights. this isn’t a joke. So do they really think a bunch of street kids like us can make any difference? The choice has got to be yours: Are we just gonna take what they give us. The World Will Know JACK (relaying DAVID’S message) PULITZER AND HEARST.DAVID Jack. You can’t just rush everybody into this. To DAVID) Well. JACK (to DAVID) Alright. Let me think about it. that worked pretty well. Pulitzer and Hearst and all them other rich fellas. (to the NEWSIES) Listen. or are we gonna strike? (there is silence) LES (a beat) Strike! BOOTS Keep talking Jack.

JACK WHAT’S IT GONNA TAKE TO STOP THE WAGONS? ARE WE READY? NEWSIES Yeah! DAVID No! JACK WHAT’S IT GONNA TAKE TO STOP THE SCABBER? CAN WE DO IT? 45 . we'll talk with them! RACETRACK Some of them don’t hear so good! JACK Well then we’ll soak ‘em! DAVID No! We can’t beat up kids in the streets. DO THEY GOT US? NEWSIES No! DAVID (to JACK) We’re a union now. the Newsboys Union.DAVID (to JACK) If we stick together like the trolley workers then they can’t break us up. We have to start acting like a union. It’ll give us a bad name. JACK PULITZER AND HEARST. THEY THINK THEY GOT US. JACK EVEN THOUGH WE AIN’T GOT HATS OR BADGES WE’RE A UNION JUST BY SAYING SO AND THE WORLD WILL KNOW! BOOTS What’s to start somebody else from selling our papes? JACK Well. CRUTCHY Can’t get any worse.

AND OUR RANKS WILL GROW! CRUTCHY AND WE’LL KICK THEIR REAR! NEWSIES AND THE WORLD WILL KNOW THAT WE’VE BEEN HERE! JACK WHEN THE CIRCULATION BELL STARTS RINGING WILL WE HEAR IT? NEWSIES No! JACK WHAT IF THE DELANCEY’S COME OUT SWINGING WILL WE HEAR IT? NEWSIES NO! WHEN YOU’VE GOT A HUNDRED VOICES SINGING WHO CAN HEAR A LOUSY WHISTLE BLOW? AND THE WORLD WILL KNOW THAT THIS AIN’T NO GAME THAT WE GOT A TON OF ROTTEN FRUIT AND PERFECT AIM SO THEY GAVE THEIR WORD BUT IT AIN’T WORTH BEANS! NOW THEY’RE GONNA SEE WHAT ‘STOP THE PRESSES’ REALLY MEANS AND THE DAY HAS COME AND THE TIME IS NOW AND THE FEAR IS GONE BOOTS AND THEIR NAME IS MUD! 46 . HEARST AND PULITZER HAVE WE GOT NEWS FOR YOU! NOW THE WORLD WILL HEAR WHAT WE’VE GOT TO SAY WE’VE BEEN HAWKING HEADLINES BUT WE’RE MAKING ‘EM TODAY.NEWSIES Yeah! JACK WE’LL DO WHAT WE GOTTA DO UNTIL WE BREAK THE WILL OF MIGHTY BILL AND JOE! NEWSIES AND THE WORLD WILL KNOW AND THE JOURNAL TOO! MR.

NEWSIES AND THE STRIKE IS ON BOOTS AND I CAN'T STAND BLOOD! NEWSIES AND THE WORLD WILL… JACK PULITZER MAY OWN THE WORLD BUT HE DON’T OWN US! NEWSIES PULITZER MAY OWN THE WORLD BUT HE DON’T OWN US! JACK PULITZER MAY CRACK THE WHIP BUT HE WON’T WHIP US! NEWSIES PULITZER MAY CRACK THE WHIP BUT HE WON’T WHIP US! AND THE WORLD WILL KNOW AND THE WORLD WILL LEARN AND THE WORLD WILL WONDER HOW WE MADE THE TABLES TURN AND THE WORLD WILL SEE THAT WE HAD TO CHOOSE THAT THE THINGS WE DO TODAY WILL BE TOMORROW’S NEWS AND THE OLD WILL FALL AND THE YOUNG STAND TALL AND THE TIME IS NOW AND THE WINDS WILL BLOW AND OUR RANKS WILL GROW AND GROW AND GROW AND SO THE WORLD WILL FEEL THE FIRE AND FINALLY KNOW! NEWSIES (yelling) Strike! Strike! Strike! (etc.) JACK We gotta get word out to all the Newsies of New York. I need some of those… (to DAVID) …what do you call ‘em? DAVID (quietly to JACK) Ambassadors? 47 .

(BUMLETS. SPECS and SKITTERY exit) Pie Eater! Snoddy! East Side! (PIE EATER and SNOODY exit) Snipeshooter. we’ll go to Brooklyn. we ain’t scared of Brooklyn. Jack. I’ll take Harlem. And Dave here can keep us company. KID BLINK Say. you take Queens. I got Midtown.JACK (pats DAVID on back) Yeah. (SNIPESHOOTER exits) So. and Specs and Skittery. Boots. (to NEWSIES) Okay. just as soon as you deliver our demands to Pulitzer. Jack. what about Brooklyn? (silence) Come on. 48 . he don’t make me nervous. you guys. (backing down) It’s Spot Conlon that makes us a little nervous. Jack. (HE exits) RACETRACK Yeah. (HE exits) JACK Alright. Spot Conlon’s territory. JACK Well. (silence) What’sa matta? You scared of Brooklyn? BOOTS (courageously) Hey. And Bumlets. I’ll take the Bronx. you gotta be am-bastards and go tell the others that we’re on strike. DAVID Sure. right. JACK Me? To Pulitzer? DAVID You’re the leader. So you and me. (HE exits) MUSH I got the Battery. (HE exits) CRUTCHY Hey. you go with ‘em.

DENTON David. DENTON I’m with the New York Sun.JACK (stands motionless.) JACK (to the PERSON inside the door) Well. Bryan Denton. (JACK and LES are thrown out the door. DENTON What demands? DAVID The Newsies demands. maybe the kid’ll soften him up. DENTON enters and approaches DAVID. A beat. (THEY shake hands) You seem like the kid in charge. (taking out a pen and pad) What’s your name? DAVID David. (JACK and LES enter the World Building. what is the strike? What’s going on? DAVID We’re bringing our demands to Pulitzer.) 49 . The NEWSIES cheer) NEWSIES Strike! Strike! Strike! (etc. so’s your old lady! You tell Pulitzer he needs an appointment with me! LES (copying HIS idol) Yeah! (Blackout.) (The rest of the NEWSIES go off in different directions. HE then grabs LES) Well. David as in David and Goliath? You really think old man Pulitzer’s going to listen to your demands? DAVID He has to. We’re on strike.) DENTON Hey.

you know the type.Scene Eleven (We are now in Tibby’s Restaurant. LES and DENTON are sitting in a booth. Pulitzer. HE slowly walks back to THEM) Well. DAVID and LES eat like THEY’VE never seen food before. keep me informed. DENTON takes notes as JACK. look at me. Just tell him Jack Kelly’s here to see him now!’ LES That’s when he threw us out. (a beat) So. (HE begins to walk out) Alright. (rises. DAVID Are we really an important story? DENTON (stops and turns to the NEWSIES. JACK. DAVID. No one sees Mr. is the Newsie’s strike important? That all depends on you. I want to know everything that’s going on. Jack Kelly. pays bill) My boss'd love to see The World and The Journal off the streets. ‘Listen. I ain’t in the habit of transacting no business with office boys. and Denton? No pictures. ‘You can’t see Mr. JACK So my name’s really gonna be in the papers? DENTON Any objections? JACK Not as long as you get it right. JACK (sarcastically) Oh yeah. 50 . DENTON Does he scare you? You’re going up against the most powerful man in New York City. I’m trembling. what’s important? Last year I covered the war in Cuba. LES Real hoity-toity. this will be in the Sun tomorrow? DENTON Can't miss. You're riding a hot story here. That was an important story.’ Real hoity-toity. So. "Little Davids take on twin Goliaths!" Could hit the national wire. Oh. JACK So that’s when I says to him.) JACK (mouthful) …What did I know? I just started talkin' and the next thing I knew it was goin'. Charged up San Juan Hill with Colonel Teddy Roosevelt. Pulitzer. So this snooty mug says to me. It’s Kelly.

The BOYS sit silently. slowly realizing what this will mean. Blackout) 51 . (DENTON pats LES on the head and exits.) DAVID The whole country will read about us.DENTON Sure Jack. JACK (astounded) My eyes!! LES Is that good? (JACK and DAVID look at LES and smile.

) SPOT (through HIS speech. have you? BOOTS I spent a month here one night. SPOT Oh yeah? (to JACK.) SPOT Heya Boots. (SPOT takes the marbles and takes out HIS slingshot. We are going on strike. DAVID We’re not playing. HE shoots marbles with HIS slingshot) Yeah. well we are. Kelly? (JACK pushes past HIM. I’ve been hearing things from little birds. DAVID and BOOTS follow. How’s it rollin’? BOOTS (offering HIS bag of marbles) I got a couple of real good shooters.) DAVID I’ve never been to Brooklyn. JACK Yeah. if it ain’t Jack be nimble. DAVID. So. referencing DAVID) 52 . JACK and BOOTS riding on back. is this Spot Conlon really dangerous? BROOKLYN NEWSIE Going somewhere. They been chirpin’ in my ear. The NEIGHBORHOOD CHILDREN stop their play to stare as THEY pass. steps off a stoop and blocks their way. all over. SPIKE. Got a river view and everything. DAVID and BOOTS hop off the back of the wagon and walk down the street quickly and warily. Jacky-boy’s Newsies is playing like they’re going on strike. born to be tough. JACK and BOOTS face a dozen toughlooking NEWSIES by a shack in a vacant lot. JACK. eyeing the strangers. there is a small bridge unit. JACK I see you moved up in the world.Scene Twelve (The stage is set to resemble Brooklyn. (The TWO BOYS spit-shake. On one side of the stage. as if in enemy territory. DAVID. 19. Jack be quick. Spot. Jacky-boy. DAVID So. A freckled gnome saunters out: SPOT CONLON. A milk wagon rattles its way off the bridge and crosses the stage. A seven year-old. Queens.) SPOT Well. One BOY plucks a banjo. Things from Harlem. SPIKE looks them over silently.

you gotta! SPOT You’re right Jacky-boy. and if you got half a one. you’ll listen to what he’s got to say. That Spot Conlon is the most respected and famous Newsie in all of New York. SPOT Yeah. So. but we can’t do it alone. SPOT That ain’t good enough Jacky-boy. So you gotta join. (Blackout. You’re the key. But I got brains too. we’re talking to Newsies all around the city. and probably everywhere else. and more than just half a one. And if Spot Conlon joins the strike. You gotta show me. it’s a mouth. A mouth with a brain.What is this. Spot. we started the strike. How do I know you punks won’t run the first time some goon comes at ya with a club? How do I know you got what it takes to win? JACK Because I’m telling you. But what’d they tell you? DAVID They’re waiting to see what Spot Conlon is doing. then they’ll join and we’ll be unstoppable. I mean…well. so they told me. brains. DAVID Well.) 53 . Jacky-boy? Some kind of walking mouth? JACK (taking DAVID under HIS arm) Yeah.

is this just a game to you guys? (to DAVID) So. Jack. Playing games. The song segues to a dance as DAVID and JACK lead the BOYS to the World gates. We're a union. there ain’t enough of us. You imagine that? RACETRACK Well.) 54 . Maybe we ain’t ready. maybe we ought to ease off a little. David. We see an unruly mob of NEWSIES gathered by the statue. then into a song that turns a mob of kids into a unified force. RACETREACK is reading to KID BLINK from The Sun as DAVID. Half these kids don't even know why they're here. which becomes a slogan. you know? SKITTERY I definitely think we should forget about it for a little while. Without Spot and the others. throwing stones at passing carriages and generally having a good time. We've got Newsies from all over the city. JACK Oh.Scene Thirteen (Several young NEWSIES play marbles beside a "Don't Buy World or Journal" sign. without Brooklyn…you know? JACK Spot was right. It's a mob. MUSH and BOOTS collect rotten fruits and vegetables from VENDORS. I mean. the song begins with JACK and DAVID trying to organize the KIDS. What should we do? (Celebratory in tone. setting up a shot. where’s Spot? JACK Forget Brooklyn. do ya? SKITTERY Yeah. DAVID is distressed by the chaos. JACK and BOOTS arrive on the scene. MUSH Maybe we’re moving too soon. THEY realize THEY need a "rallying cry". (looking around) So. turns into a cheer.) RACETRACK Hey Jack. DENTON there. DAVID It's not a union. We have to get organized. Jack. JACK Spot was concerned about us being serious. RACETRACK Yeah.

Seize the Day DAVID OPEN THE GATES AND SEIZE THE DAY DON’T BE AFRAID AND DON’T DELAY NOTHING CAN BREAK US NO ONE CAN MAKE US GIVE OUR RIGHTS AWAY ARISE AND SEIZE THE DAY! NOW IS THE TIME TO SEIZE THE DAY NEWSIES (echoing) NOW IS THE TIME TO SEIZE THE DAY DAVID SEND OUT THE CALL AND JOIN THE FRAY NEWSIES (echoing) SEND OUT THE CALL AND JOIN THE FRAY DAVID WRONGS WILL BE RIGHTED IF WE’RE UNITED ALL LET US SEIZE THE DAY! DAVID FRIENDS OF THE FRIENDLESS SEIZE THE DAY NEWSIES (echoing) FRIENDS OF THE FRIENDLESS SEIZE THE DAY DAVID RAISE UP THE TORCH AND LIGHT THE WAY NEWSIES (echoing) RAISE UP THE TORCH AND LIGHT THE WAY PROUD AND DEFIANT WE’LL SLAY THE GIANT LET US SEIZE THE DAY NEIGHBOR TO NEIGHBOR FATHER TO SON ONE FOR ALL AND ALL FOR ONE! DAVID OPEN THE GATES AND SEIZE THE DAY 55 .

amazed at the frenzy of these CHILDREN. HE pulls HIS cudgel.NEWSIES (echoing) OPEN THE GATES AND SEIZE THE DAY DAVID DON’T BE AFRAID AND DON’T DELAY NEWSIES (echoing) DON’T BE AFRAID AND DON’T DELAY NOTHING CAN BREAK US NO ONE CAN MAKE US GIVE OUR RIGHTS AWAY NEIGHBOR TO NEIGHBOR FATHER TO SON! ONE FOR ALL AND ALL FOR ONE! (The NEWSIES surge forward to the desk and send a shower of old fruit and vegetables onto the WORKERS. DAVID stands at the edge of the action.) RACETRACK (running off) Crutchy! Scram! Scram! (CRUTCHY starts to leave. who tear them to shreds. THREE POLICEMEN come down the street. Slow blackout. DENTON has been watching all of this.) JACK (leaps onto the gate. bellowing) Cheese it! Cheese it! It’s the bulls! (the POLICE continue to blow THEIR whistles. the DRIVERS fleeing. but is blocked in by COPS. except for the rustling of newspaper scraps in the breeze. JACK leads a group of NEWSIES onto the first wagon. except CRUTCHY who does not notice anything happening.) 56 .) CRUTCHY Hiya boys! OSCAR Hey! (THEY knock HIS crutch aside and drag HIM away. then joins THEM in tearing up the papers. THEY clamber aboard beside the helpless DRIVER and toss bundles of papers to the NEWSIES below. The courtyard is suddenly dead quiet. NEWSIES cover the wagons like ants. HE turns to find the DELANCEY BROTHERS behind HIM. blowing their whistles. A whistle shrieks. The NEWSIES scramble. WEASEL shouts orders in vain. The WORKERS inside cover THEIR heads and hide.

He thinks he can change the world. DAVID is shocked.Scene Fourteen (David’s Apartment.. the headline reads "Newsies in Revolt. The Sun is on the table. so I'm on strike.) DAVID (angrily) I can't get another job! They're depending on me.. (to MAYER. Proud of Your Boy DAVID (HE turns from the corner and looks at ESTHER) PROUD OF YOUR BOY I'LL MAKE YOU PROUD OF YOUR BOY BELIEVE ME. supports HIS wife. ESTHER Your family is depending on you! DAVID They're trying to cheat us! MAYER You're children! What do you know about making a union? DAVID What I learned from you.) ESTHER (to LES) From now on. ESTHER turns and looks at LES. Then HE turns and walks to a corner of the apartment to get away from ESTHER. sympathetic. BAD AS I'VE BEEN. SARAH sews. softly as SHE begins to cry) God help us. MAYER (HE comforts HER) Maybe he can. And that's what I'm going to do! (ESTHER impulsively strikes DAVID across the face and instantly regrets it. you stay home. That's what father taught me. listening. ESTHER And look what happened to him! DAVID I'm a Newsie. he's just like you. MA YOU'RE IN FOR A PLEASANT SURPRISE (HE slowly begins to make his way across the room to HER) I'VE WASTED TIME I'VE WASTED ME 57 . mom! The Newsies are on strike. Night." DAVID faces down ESTHER'S fury as MAYER. Mayer. LES watches.

SO SAY I'M SLOW FOR MY AGE A LATE BLOOMER. OKAY. not comprehending) You hear me? DAVID Yes…but what can we do? 58 . sees JACK and comes to the window) The Warden's got Crutchy. SCREWIN' UP TIMES YOU'LL SEE. I WILL TRY TO TRY HARD TO MAKE YOU PROUD OF YOUR BOY. I AGREE… THAT I'VE BEEN ONE ROTTEN KID SOME SON. NOW COMES THE BETTER PART SOMEONE'S GONNA MAKE GOOD CROSS HIS STUPID HEART MAKE GOOD AND FINALLY MAKE YOU PROUD OF YOUR BOY TELL ME THAT I'VE BEEN A LOUSE AND LOAFER YOU WON'T GET A FIGHT HERE. (DAVID stirs. (DAVID stares at JACK. SHE quietly goes to HIM and opens the window) SARAH (whispering) Do you know what time it is? JACK (whispering) I ain't got a watch. I KNOW. NO MA'AM SAY I'M A GOLDBRICK. BUT… SOMEDAY AND SOON I'LL MAKE YOU PROUD OF YOUR BOY THOUGH I CAN'T MAKE MYSELF TALLER OR SMATTER OR HANDSOME OR WISE I'LL DO MY BEST. (SARAH hears a tapping. LET IT GO THERE'S NO GOOD REASON THAT YOU SHOULD BELIEVE ME NOT YET. MA. A GOOD-OFF. NO GOOD BUT THAT COULDN'T BE ALL THAT I AM WATER FLOWS UNDER THE BRIDGE LET IT PASS. WHAT ELSE CAN I DO ? SINCE I WASN'T BORN PERFECT LIKE DAD OR YOU MOM. looks up and sees JACK at the window. SOME PRIDE AND SOME JOY BUT I'LL GET OVER THESE LOUSIN' UP MESSIN' UP.

JACK Get 'em out.) 59 . (DAVID and JACK exit down the fire escape. Blackout. Come on.

throws the rope up and pulls HIMSELF up. Snyder makes sure he gets sent straight here. JACK works at the bars with HIS crowbar. the more money the city sends to take care of them.) Hey! (the INMATE’S eyes bulge.) If we get caught. Jack. Inside the Refuge. THEY pull back into the shadows. outside hanging from the rope. You can fly? JACK It's a rope. He’s here. (HE jumps out of bed and runs off. JACK pulls HIMSELF together and leads DAVID to the side of the wall. JACK I ain't leaving'm in there. JACK and DAVID stand across the street in the shadows. calls softly through the open window to an INMATE. JACK steps into HIS hands and starts to climb up to HIS shoulders. looks sickly. sweet home. so he can rehabilitate him. 9. DAVID How can you be sure they sent him here? JACK How can I be sure the Delancey’s stink? It’s just how things work. JACK is now standing behind the wall pretending to be hoisted high in the air. HE leans against the bed. DAVID So how come you brought the rope? (THEY are about to sneak toward the wall when the gate opens and SNYDER and ANOTHER MAN exit and walk towards THEM. grabs a spike at the top of the wall. The building is a somber structure. everything's ruined. (HE stands on DAVID'S shoulder. SNYDER walks right past then down the street.) CRUTCHY You shouldn't have come here. JACK 60 . Carrying a rope and a small crowbar. you know? An orphan gets arrested. JACK.) JACK So here it is. many bunks are crammed into a dark room. DAVID glances at JACK.) INMATE Cowboy. enclosed by a brick wall with an iron gate. Snyder's askin' about ya. kid. The Refuge. We are now outside the House of Refuge. My home. who lies awake. CRUTCHY and the INMATE return. This is the city prison for children.Scene Fifteen (It is night. seeing JACK floating outside the window. Once at the wall. The set for Tibby’s Restaurant turns around to reveal another [much smaller] boarding area. the more Snyder sticks it in his pocket. Crutchy in there? (the BOY nods) INMATE The gimp? I’ll get him for ya. DAVID makes a stirrup by intertwining HIS fingers. The more kids in the Refuge. shaken by the close call. JACK'S face reveals the trauma of HIS years inside those walls. CRUTCHY battered in body and spirit. JACK sees HIM.

out of site. SNYDER opens the door and begins to walk in. You're checking out. You ought to go west like you always say.Don't worry about me. CRUTCHY Truth is.) Hey! Cheese it! (HE inspects the room. JACK swings to the side. (JACK. I’d just like you to know that when you were taking a nap this afternoon… (CRUTCHY leads SNYDER away from the window adlibbing as THEY both leave the room. Crutch. Jack. DAVID sees the dark mood HE is in as HE gets closer. Come on. I ain't got the heart for the fight no more. Kloppman's savin' your bunk.) 61 . Warden Snyder. upset. (JACK keeps going and DAVID runs to catch up to HIM. You know. CRUTCHY I'm staying. CRUTCHY grabs HIS arm. sir. It's worse than the street. DAVID waits in an alley across from the wall. (smiles through pain) They still talk about ya breakin' out of here on TR's coach. (THEY lock eyes) We're getting too old to be hawking fish wrappers. As SNYDER is about to look out the window. stares. I was thinking. JACK You can't live in this hole.) Mr. The set revolves back to its original position. CRUTCHY touches JACK’S hand under the window. Segue to next scene. JACK never stops. as HE moves past DAVID…) JACK He's staying. JACK walks towards him.

we busted out. I seen it happen a dozen times. Teddy Roosevelt was Police Commissioner then. I pulled him up next to me.) …inspectin' prisons. watching the proceedings. Snyder spotted us on the street one day. Segue to next scene. I hopped a wagon. (DAVID watches JACK struggle with the story. DAVID and JACK sit staring into the deserted courtyard.Scene Sixteen (We are now in Newsie Square. The curtain opens to reveal a ballet [or reenactment] of the story JACK is telling. DAVID follows. I was just teachin' him to read the headlines. me and this kid. but younger. DAVID What was his name? (JACK looks at him sharply. The kids were cheering us.) 62 . When we cleared the gates we stood up and waved to Snyder. defenses rising again.) He was a good kid. DAVID watches HIM. It is the courtyard at the House of Refuge. It is daytime. even…he slipped and got caught in the spokes of the wheel. Snyder had us all lined up in the courtyard like good little soldiers. like Les. blue lights come up behind DAVID and JACK. Me and this kid sneaked onto the roof of Roosevelt's carriage… (we see JACK and THE KID climbing onto the carriage and ride out through the gates. He went crazy. The kid…we was laughin'.) JACK When I got sent up. (the lights suddenly go to black on the ballet. Snyder got into trouble all over again. JACK smiles.) JACK What's the difference? (JACK stands and walks off. started chasin' us. All the BOYS are lined up in the courtyard for an inspection by TEDDY ROOSEVELT. thinking about the past. Roosevelt thought they was cheerin' for him. SNYDER stands proudly with HIS STAFF. He was goin' around… (slowly. to the cheering of the BOYS. DAVID What happened to the kid? JACK He died…about a year later.) The reporters loved it…made all the papes.) …and rode on out. It is later that same night. We sold a lot of papes.

PULITZER I’ll give you whatever means you require. SNYDER looks out the window to the square where the NEWSIES have gathered. SEITZ Chief… PULITZER Shut you mouth. PULITZER.) 63 . WEASEL and SEITZ are inside PULITZER’S office. Chief.Scene Seventeen (The next morning.) SEITZ I don’t think they’re just going to go away. I want this nonsense done with once and for all. Pulitzer. just give me the means and I’ll take care of them for ya. Seitz (WEASEL and SEITZ leave. Immediate segue. WEASEL Mr. sir.

because from behind the wagons WEASEL leads HIS THUG ARMY into battle.) DENTON (to a POLICEMAN) Aren’t you going to stop them.") Seize the Day (Reprise) NEWSIES OPEN THE GATES AND SEIZE THE DAY DON’T BE AFRAID AND DON’T DELAY NOTHING CAN BREAK US NO ONE CAN MAKE US GIVE OUR RIGHTS AWAY ARISE AND SEIZE THE DAY (The BOYS dance in the square and block the entrance to the World building. Everyone remain calm. pulling HIM down with a crash. a bunch of NEWSIES appear on the rooftops.Scene Eighteen (Newsie Square. HIS rage takes over. A NEWSIE gets cracked on the head and falls. JACK manages to jam a club through the spokes of a wagon wheel. The MEN form a circle around JACK so none of the NEWSIES can help HIM. THEY drop THEIR papers to flee. sees something and grins. OSCAR Heya Jacky-boy (JACK faces a MAN with a chain. HE dodges a blow from the DRIVER. (DAVID turns. BOOTS and DAVID join the gathering NEWSIES. and HE punches again and again at the MAN’S face. JACK. DENTON tries to get in. bloody. including SPOT.) DAVID Alright. The gates shut and DENTON can’t get in to help. JACK Let’s soak ‘em for Crutchy! (The NEWSIES attack.) DAVID 64 . HE steps on the fallen DRIVER. The NEWSIES and SCABS have another stand off. From this height. WEASEL climbs atop the lead wagon. grabs HIS arm and pulls HIM off the wagon. climbing over HIM onto the wagon. but they don't have a prayer against the armed ADULTS. sir? POLICEMAN Move along. The wagons are starting to roll again.) They're killing us. "Don't Buy World" and "I Ain't a Scab. who carry signs proclaiming. stopping the convoy again. A delivery cart rushes through. The NEWSIES fight desperately. mister. but there is nowhere to run. Same time of day. HE rises. JACK sees a chaos of battles. looks at HIS bloodied hand as if it were a foreign object.) JACK (JACK shouts to DAVID over the din. sorting HIS MEN to crush the NEWSIES. Outside. (just as all hope seems lost for JACK. DAVID leaps onto the upraised arm of a THUG. The SCABS are inundated by the onslaught of little bodies.

Once again.) MUSH It’s Brooklyn! (the NEWSIES begin soaking the CRIB again. The lights should be as far back as possible as to not light any of the NEWSIES from the front. First RACETRACK. I give up. A silhouette is created and shows the NEWSIES frozen in a set pose. SKITTERY gets hit and falls back.Look! (JACK turns and sees what DAVID is referencing.) SPOT Never fear. The lights slowly fade to black. bright white lights come up behind the scrim. NEWSIES catch HIM. At the same time. The NEWSIES cheer and tear some more papers. ‘New York Sun’ should be projected onto the scrim along with a headline that reads: ‘The Children’s Crusade. Also.) 65 .) DENTON Jack! Boys! Freeze! Freeze! JACK Alright guys (DENTON takes the picture. End of Act One. the scrim closes quickly and the NEWSIES take THEIR ‘Prologue B’ place behind the scrim. HE takes HIS same place from ‘Prologue B. Newsies Stop the World’. then JACK. THEY force the CRIB back. Brooklyn is here. RACETRACK throws HIS hands in the air and sit on a ledge…) RACETRACK Hey. alright. the NEWSIES push HIM back up and HE punches the MAN back. (HE kicks a nearby GUY in the crotch) JACK Hey. (HE grabs onto a rope that is hoisted from the top of one of the corners of the theatre and glides down to the stage. the BROOKLYN BOYS using THEIR sling shots. Alright. Spot! (there is mass pandemonium as we see each of the NEWSIES punching the SCABS. KID BLINK and another.’ During DENTON’S next line.) DAVID (to SKITTERY) Are you alright? (before HE can answer. there is a blinding flash from DENTON’S camera. DENTON enters with HIS camera. I give up. SPOT opens the gates and the BROOKLYN GANG join.

JACK grabs the paper. BOOTS What you got there. Perhaps taken to another room so there is not as much clutter backstage. BOOTS. RACTRACK. DAVID’S face bruised from the day's fighting.all waiting for DAVID'S take on the article. the scrim is to remain closed. There is a newspaper behind DENTON'S back. it will keep the swelling down. JACK Will you get your fingers off me face? SPOT Where does it say my name? Where’s my name? JACK Will you quit thinking about yourself? DAVID Front page boys! Listen. It is later the same day [from the end of Act One]. (as HE reads) ‘The infant newsboys union crushed the twin titans of the press today in a strike battle that will go down in labor history…’ OWNER (hands ice in a towel to BOOTS) Put that on his face.. (as BOOTS holds it to DAVID'S cheek. DENTON proudly hands the paper to DAVID. You look like a gentleman.) JACK 66 .) DENTON Hey fellas. and OTHERS. Any remaining set pieces should be dressed accordingly. Around the table sits JACK.) Scene One (The scrim opens to reveal Tibby’s Restaurant.. reads. hey! Big time. The scrim should remain lit and continually have newspapers projected onto it. Any set pieces or props not being used in the second act can be stuck from the stage completely. Dave? SPOT Where’s me picture? Where’s me picture? BOOTS What’s that? That all about us? MUSH Look at that Jack.NEWSIES ACT TWO (During Intermission. HE carries it to a table where the BOYS have coffee. Hey. SPOT.

you get anything you want. huh? MUSH What are you talkin’ about? JACK Shut up. You've been in a bad mood all day! SKITTERY I’m not in a bad mood! RACETRACK Glum and dumb. boy. Your famous. That’s what so great about New York! King of New York MUSH A PAIR OF NEW SHOES WITH MATCHING LACES RACETRACK A PERMANENT BOX AT SHEEPSHED RACES. JACK smiles) DAVID You got us on the front page! DENTON You got yourselves on the front page. (to DENTON) You describe me good.(reads) ‘Led by enigmatic street boy. SPOT A PORCELAIN TUB WITH BOILING WATER KID BLINK A SATURDAY NIGHT WITH THE MAYOR’S DAUGHTER! RACETRACK LOOK AT ME I’M THE KING OF NEW YORK! SUDDENLY I’M RESPECTABLE 67 . SKITTERY So what? You get your picture in the papes. putting HIM in HIS place. with his red bandana and golden tongue…’ (looks up) My own paragraph. but… (serious) When do I get a headline. I just got to make sure you stay there. so what’s that get you. What’s the matta with you? You get your picture in the papes. you’re famous. like "Kelley Sparks Newsies?" (the BOYS bombard JACK and HIS ego. Jack Kelley.

STARING RIGHT ATCHA LOUSY WITH STATURE JACK NUBBIN’ WITH ALL THE MUCKETY-MUCKS I’M BLOWIN’ MY DOUGH AND GOIN’ DELUXE! RACETRACK AND THERE I’LL BE AIN’T I PRETTY? RACETRACK & JACK IT’S MY CITY I’M THE KING OF NEW YORK! BOOTS A CORDUROY SUIT WITH FITTED KNICKERS LES A MEZZANINE SEAT TO SEE THE FLICKERS SNIPESHOOTER HAVANA CIGARS THAT COST A QUARTER DAVID AN EDITOR’S DESK FOR OUR STAR REPORTER! NEWSIES TIP YOUR HAT HE’S THE KING OF NEW YORK! DENTON HOW ‘BOUT THAT? I’M THE KING OF NEW YORK! NEWSIES IN NOTHING FLAT HE’LL BE COVERING BROOKLYN TO TRENTON OUR MAN DENTON KID BLINK MAKING A HEADLINE OUT OF A HUNCH DENTON PROTECTING THE WEAK RACETRACK AND PAYING FOR LUNCH DENTON 68 .

WHEN I’M AT BAT STRONG MEN CRUMBLE RACETRACK PROUD YET HUMBLE DENTON I’M THE KING OF NEW YORK RACETRACK HE’S THE KING OF NEW YORK NEWSIES I GOTTA BE EITHER DEAD OR DREAMING ’CUZ LOOK AT THAT PAPE WITH MY FACE BEAMING TOMORROW THEY MAY WRAP FISHES IN IT BUT I WAS A STAR FOR ONE WHOLE MINUTE! (dance) STARTING NOW I’M THE KING OF NEW YORK! DENTON AIN’T YOU HEARD? I’M THE KING OF NEW YORK! NEWSIES HOLY COW! IT’S A MIRACLE PULITZER’S CRYING WEASEL? HE’S DYING! FLASHPOTS ARE SHOOTING BRIGHT AS THE SUN I’M ONE HIFALUTIN’ SON OF A GUN! DON’T ASK ME HOW FORTUNE FOUND ME FATE JUST CROWNED ME NOW I’M KING OF NEW YORK! LOOK AND SEE ONCE A PIKER NOW A STRIKER I’M THE KING OF NEW YORK! VICTORY! FRONT PAGE STORY GUTS AND GLORY I’M THE KING OF NEW YORK! (the NEWSIES cheer and gather around the table) JACK So. DAVID 69 . let’s have some ideas.

We’ll fight until damn Doomsday if it means we get a fair shake.) JACK There’s a lot of us. It’ll be the biggest.Well. Tibby’s Restaurant revolves as we segue to the next scene. we gotta show people where we stand JACK Yeah. loudest. nosiest blowout this town’s ever seen! DAVID We’ll send a message to the big boys. and we ain’t going away. RACETRACK (clasping HIS fist) Yeah.) 70 . (a WAITER brings a tray of drinks. DENTON My paper’s the only one printing any strike news so far JACK So. guys. NEWSIES Our man Denton! (the NEWSIES lift THEIR glasses in a toast. A Newsie rally with all the kids from all over New York. (raising HIS glass) To our man Denton. so we gotta stay in the papes. (a beat) Like a rally. Each NEWSIE grabs a glass. I’ll give ‘em a message. we should do something that’s so big the other papers’ll feel stupid if they try to ignore us. DAVID Hey.

) 71 . CRUTCHY knocks on SNYDER’S door and enters. SNYDER is reading the same issue of the Sun late that night. We are now in Snyder’s office. It’s got a mind of its own. Segue to next scene. How was your supper? (as HE begins to put the plates on a tray. (CRUTCHY leaves. realizing HIS mistake. CRUTCHY notices SNYDER looking at the paper.) Hey! That’s Jack. Mr. He looks just like himself. this Jack. honest! It’s this brain of mine. particularly at JACK’S picture. Mr. Snyder. Snyder? (no answer) Good bye. Do you know where he lives? CRUTCHY I never heard of him. SNYDER You have a very famous friend.) CRUTCHY Heya Mr. SNYDER (looking up from the paper) You know this boy? CRUTCHY No. Snyder.Scene Two (the set has revolved to the side where the Refuge is facing out. (HE begins to make HIS way out of the room) Can I get you anything else. it’s always making mistakes.

Never heard of him. The BOYS hold up signs to hide HIM) RACETRACK Give to the Newsies Strike fund. possibly dangerous. Kloppman? KLOPPMAN Very good. (KLOPPMAN distracts SNYDER and JACK exits. (JACK comes out of the door. Mister? (SNYDER hands RACETRACK a coin.Scene Three (The Lodging House door has now been brought on. This way please. The NEWSIES are sitting on the ground making signs for the rally.) DUTCHY So. you mean Jack Kelly. KLOPPMAN and SNYDER exit through the Lodging House door. very good. (SNYDER enters and starts to go up to the door) Excuse me. he was here. I wish to see him. but SWIFTY stops HIM and points SNYDER out to HIM) RACETRACK Oh. (some of the BOYS laugh at RACETRACK’S remark) SNYDER I have reason to believe he’s an escaped prisoner. did I spell it right. but he put an egg in his shoe and…beat it. KLOPPMAN observes. DUTCHY’S sign says ‘STRIKE’.) 72 . KLOPPMAN Oh. KLOPPMAN Jack Kelly? Never heard of him. Can I help you? SNYDER You have a boy who calls himself Jack Kelly. Any of you boys ever hear of a Jack Kelly? SPECS That’s an unusual name for these parts. Yeah. Segue. dangerous? I better look in my files.

SPOT and other LEADERS search the paper for Newsie coverage. We'll fill it with Newsies from all over the city. DAVID They're not. We'll lift their spirits.Scene Four (We are now on the street. BOOTS. JACK I was. they'd rent a hall. DAVID Be serious. 73 . DAVID There's fifty cents left. JACK. (DAVID walks off) What we need is a party. an idea) That's it. It is midday. RACE. People forget real fast. That's what my father's union would do.) JACK They keep moving us back. DAVID. JACK (cutting him off) Irving Hall.. A rally. BOOTS Where do we get the money? JACK How much could it be? DAVID Lots. Now they got us on page twelve under the Parker the Painless Dentists ads. everybody's depressed. That'll make news. RACETRACK We took a collection. Where's Denton when you need him? SPOT Why don't they like us no more? BOOTS They're tired of us. We've got to stay in the headlines or we're dead. JACK We could blow something up. We've got Newsies all over the country with us. DAVID (turns. I know a guy with dynamite..

HE yells over HIS shoulder) Carryin' the banner! JACK Carryin' the banner! (blackout. The MESSENGER sees JACK. Sunday night. Slow segue. MESSENGER I'll pass it along. (as HE pedals away.) JACK (a beat) I'll get the money. Irving Hall. (THEY all look at HIM) And I'll get Irving Hall. turns and comes back. (JACK sees a BICYCLE MESSENGER going uptown and whistles.) How far you going up? MESSENGER The Bronx. JACK Spread the word. But we've got to get the word to all the Ward leaders.(the BOY'S enthusiasm levels out. Big rally.) 74 .

Besides. We are now in David’s Apartment. The strike has spread like wildfire to every city served by the Hearst and Pulitzer papers including all of New Jersey and scattered areas from Massachusetts to as far away as Kentucky… (LES throws down HIS piecework in disgust at being stuck at home while MAYER continues to read aloud from the Sun. JACK.) SARAH I love the quiet. JACK Yeah. proud. I didn’t want to disturb nobody. JACK watches HER out of the corner of HIS eye. SHE goes to the window and opens it and begins talking to JACK. it’s like the Waldorf out here. SHE tears off a piece and hands it to HIM.) I ain't hungry. Pulitzer Hurting. The strike was sparked by a price hike. SARAH Don't be foolish. proud of HIS boys.. (SHE pulls a roll from HER pocket and eats. HE continues to read) . He looks cold and disheveled. SARAH notices JACK’S body on the fire escape. The headline reads: "Newsies Strike Spreads!" DAVID sits listening) MAYER Listen! "Newsie co-leader David Jacobs claims the lads will win easily.. (THEIR eyes meet) David up? SARAH Yeah.demanding refunds. MAYER reads aloud from the Sun. this time of morning. JACK is asleep on the fire escape unbeknownst to the FAMILY. Cool air. 75 . The city can be so oppressive sometimes…so ugly. SARAH Why didn’t you wake us up? JACK Well..) SARAH Did you sleep out there all night? JACK (slowly waking up) Yeah. (HE smiles. Headlines read: "Newsies Holding Firm. Great view. Long silence. won't take it. you want to come in? JACK I'll wait out here. (as HE finishes.Scene Five (The curtain opens.. It is morning. (JACK takes it and eats. JACK'S uncomfortable.") …Circulation is down at least 70 percent and advertisers are. Of course you are." and "Hearst. LES helps ESTHER and SARAH with their piecework.

You should hear him talking about Jack Kelly. SARAH (THEIR eyes meet.) Papa’s so proud of you and David. seeing another side. is there? (SHE does not answer) You know. sees THEM. the sky. make your eyes pop out.) DAVID You look horrible. A beat. strike leader. SARAH I should get ready for work. JACK Well. (SARAH watches THEM as THEY walk off. seeing your name in the papes. JACK turns. I'm usually smarter than everybody I know. The desert. Long pause as they look at the morning.JACK I could show you places. SARAH What places? (SARAH watches HIM as HE talks. (JACK smiles) And you'll never be the same. this is one strike leader who’s gonna be very happy when it’s all over and I can get outta here and go to Santa Fe. LES takes JACK'S hand.) You know Dave. it just looks different.) JACK (The BOYS go to the auditorium floor in front of the stage [the street].) It's strange. there’s nothing for me to stay for. the sun. JACK Yeah. It’s all bigger. everything’s different there. JACK If you were me for one day you'd never want to be you again.) JACK Places I go…places I seen…beautiful places. SARAH (coldly) It’s the same sun as here. who occasionally takes his meal with us. I mean. DAVID (joking with HIM) Then you met me. (DAVID and LES come to the window and mount the fire escape. and jumps up. you should see Santa Fe. (DAVID grins. ain't it? DAVID 76 .

(segue to next scene) 77 . ain't we? DAVID Yes…but we can't rest on our laurels. He's a very powerful man. at least I got my name in the papes. Feels good right now. (pauses) We're hurtin' him. I like it. We’re not getting the press we did before. JACK (impressed with DAVID) Yeah…that's it. JACK What can he do to us? DAVID Whatever he wants. How about you? (DAVID nods again. If I never do anything else the rest of my life.(nods) Like you were just born. But the longer it goes. And Pulitzer knows who I am. The first week was fun. or something. the harder it gets. No matter who wins. (looks at HIM) I gotta admit. JACK I don't care. (JACK nods) We won't be real popular when this is over. somebody'll be angry.) How long will this strike last? DAVID It depends on the kids.

We’ve got no legal cause. no.Scene Six (PULITZER is in HIS office with the MAYOR. MAYOR Legal cause. but… PULITZER You know Warden Snyder. I want this rabble he’s roused to see what happens to those who would dare to lead. the city is very concerned that this event doesn’t get out of hand. PULITZER Would the fact that this rally is organized by an escaped criminal be cause enough. HE is looking at the paper and has JACK’S face circled. SNYDER and SEITZ. Pulitzer. A convicted thief. Mr. I would have caught him before now. mayor. Well. But…Chief? CHIEF We can’t just charge in there and break it up. Francis Sullivan. MAYOR Arrest him at the rally? (segue to next scene) 78 .) MAYOR Of course. Been living at large for some time under the alias of Jack Kelly. if this boy’s a fugitive then the chief can quietly arrest him. Your honor. MAYOR Yes. What’s his real name? SNYDER Sullivan. don’t you mayor? I believe you know him because you appointed him. mayor? MAYOR Escaped criminal? PULITZER A fugitive from one of your prisons. PULITZER No. no! Not quietly! Not quietly! I want an example made. the POLICE CHIEF. They should see justice and action. no.

JACK. The hall is jammed beyond capacity. it deserves it. Jack. DENTON I don't place the articles. window sills and the shoulders of THEIR fellows. making up HIS mind.) JACK I can't tell 'em to stop soaking scabs. Letting THEM share in HIS experience.) JACK Bummers. We hear a band playing a raucous music hall number.the papers.. JACK turns and raises HIS arm for silence. turns back and looks at SARAH and LES.. HE moves down front and waits for the THEM to quiet down. We need the city on our side.. (DAVID looks at JACK to see if the message was received. Snoozers. The CROWD erupts. JACK (misunderstanding) And whose fault's that? DAVID (shakes HIS head) It has to stop. standing next to SARAH. Newsies and citizens of New York City! Welcome to the rally! 79 . SARAH and LES move through the NEWSIES in the lobby. THEY quiet.. shaking hands. (JACK sees HIS point) Tell 'em. DAVID Don't be ridiculous. JACK. center stage. HE hitches up HIS pants and walks out to center stage. looks across the stage and sees LES jumping around waving HIS hands. The NEWSIES go wild. DENTON and DAVID exit the stage. All I do is write them. JACK turns and sees HIM.. (JACK thinking. Violence begets violence. You're playing into their hands.the people. DAVID But it won't. DAVID and JACK step away from DENTON. DAVID to DENTON. cheering. dodging friendly punches. FAT MAX and SARAH stand nearby. joking. DENTON comes up behind THEM. It rubs me the wrong way. Denton? DAVID Will it get us on the front page? DENTON It should.) JACK Some turnout.) You taking notes? (DENTON smiles and takes out HIS pad. huh. Shouting NEWSIES perch on every available surface: railings. clapping..Scene Seven (We are now in Irving Hall. (the BOYS are disappointed) They're putting pressure on everyone. They'll listen to you. DAVID. Stop the violence. hanging from the rafters. basking in the adulation. JACK looks from DENTON to DAVID then over at SARAH and LES.

) So. The KIDS roar. ‘Cuz it ain’t what they say. what about you. including ourselves! So. Why we starting to fight each other? It’s just what the big shot’s wanna see.. And if we can’t even trust each other. The cheering gets louder. what’s it gonna be? RACETRACK We’re with you Jack. (the BOYS howl. And nobody ain’t gonna listen to us unless we make ‘em. But that’s fine.) JACK You got no brains. show'm your face. JACK does a shuffle step. who says ‘stop soakin’ the scabs’.. look. That’s what they want us to do. (DENTON pushes HIM out. we gotta get smart and start listening to my pal David.) 80 . here’s how it’s gonna be. DAVID No. (NEWSIES in the crowd take different sides and start to argue. The KIDS cheer. If we don’t act together. JACK So. If we don’t stick together. RACETRACK What are we supposed to do to the bums? Kiss ‘em? SPOT Any scab I see I soak ‘em.. No respect for nothing. raising HIS hand. DAVID takes a bow. That we’re street rats! Street rats with no brains.) We thought it was time for you fellas to get together and get to know each other. But also. They’re gonna be playing with my hands. then we’re nothing. KID BLINK Tell ‘em Jack! JACK So. alright. it’s just playing into their hands.) Carryin' the banner! (THEY repeat) It's time I talk to you a little. we’ve come a long way. but we ain’t there yet and maybe it’s only gonna get tougher from now on. then we’re nothing.(the BOYS cheer) Havin' a good time? (THEY cheer again) Carryin' the banner! (the NEWSIES echo the call.and have a good time. it’s what we say. JACK yells out again. no. Spot? SPOT I say that what you say is what I say. then we’re nothing. (looks to wings) Come out here Dave. If we get violent. Me and David. we’ll just get tougher with it. Period. The curtains open and MEDDA enters. SPOT Hey. (All the NEWSIES cheer..

HARD TIMES SOMETIMES THE LIVING IS SWEET AND SOMETIMES THERE’S NOTHING TO EAT BUT I ALWAYS LAND ON MY FEET SO WHEN THERE’S DRY TIMES I WAIT FOR HIGH TIMES AND THEN I PUT ON MY BEST AND I STICK OUT MY CHEST AND I’M OFF TO THE RACES AGAIN! MEDDA Hello. HARD TIMES SOMETIMES THE LIVING IS SWEET AND SOMETIMES THERE’S NOTHING TO EAT BUT I ALWAYS LAND ON MY FEET SO WHEN THERE’S DRY TIMES I WAIT FOR HIGH TIMES AND THEN I PUT ON MY BEST AND I STICK OUT MY CHEST AND I’M OFF TO THE RACES AGAIN MEDDA I PUT ON MY BEST! NEWSIES I PUT ON MY BEST! MEDDA AND I STICK OUT MY CHEST NEWSIES AND I STICK OUT MY CHEST MEDDA AND I’M OFF NEWSIES AND I’M OFF MEDDA 81 .OH… HIGH TIMES. What’s new? SO YOUR OLD LADY DON’T LOVE YOU NO MORE SO YOU’RE AFRAID THERE’S A WOLF AT YOUR DOOR SO YOU’VE GOT STREET RATS THAT SCREAM IN YOUR EAR MEDDA & NEWSIES YOU WIN SOME.High Times. Hard Times MEDDA & NEWSIES HIGH TIMES. Newsies. YOU LOSE SOME MY DEAR .

HE sprints to the back door. JACK quiets them. like we're sure to get after tonight. (the NEWSIES murmur. SNYDER 82 . JACK looks at DAVID. SNYDER and ONE COP on one side of the stage and MCSWAIN and the OTHER COP on the far side. JACK makes a quick bow then takes off running and leaps off the stage. HE’S trapped. (the BOYS cheer) I don't believe in fightin' no more.. MCSWAIN and TWO COPS enter and bully past FAT MAX. MCSWAIN and TWO COPS. (THEY exchange a look.) What do we do now? JACK Close the show. (SOME BOYS applaud the sentiment. It ain't right no more.AND I’M OFF NEWSIES AND I’M OFF MEDDA AND I’M OFF ALL TO THE RACES AGAIN! (SNYDER. gets up and as THEY clear a path. But I've had a change a heart.don't buy ice cream! (big applause. The BOYS gasp as one.) And you save the wear and tear on your knuckles. (JACK turns and sees MCSWAIN on one side and SNYDER on the other. JACK lands among the BOYS.) DAVID Jack! Jack! (JACK doesn't hear HIM) NEWSIE It was you leadin' us! JACK I'll admit it: I was one of the boys that soaked 'em. than we'd ever get by bangin' them scabs around. HE yells a warning to JACK. The NEWSIES howl as the number concludes.) JACK Let me say something about them wagon drivers that got "done up" on Madison last night. Then JACK faces the BOYS. leaving DAVID alone. (the BOYS laugh) Thanks for listening! See you at the gates bright and early tomorrow! Save your money.) It’s up to you. DAVID has no choice but to walk out slowly and stand next to JACK. (BOYS laugh) But we'll win more people to our side with a good story in the Sun. (the BOYS "BOOOOOOOOOO" their displeasure. sees the panic in HIS eyes.) DAVID Look in the wings. THEY split up. None of the NEWSIES notice. DAVID sees SNYDER..

and a COP appear. As JACK is taken out. The NEWSIES go wild. helplessly. "SNYDER!" DAVID turns and tackles SNYDER as HE tries to pass. (DAVID holding a Sun paper in HIS hand looks up. LES runs up to DAVID. pulling DAVID off HIM.) DENTON (out of sight) I'm sorry. roughing HIM up. HE pauses over a bloody shirt. The NEWSIES cheer. B. DENTON. ESTHER. expressionistic dance of violence. Tears streak HIS face. going after JACK. newspapers. During all of the previous. A Melee erupts.) SNYDER (to MCSWAIN) Arrest him! (OTHER NEWSIES run with JACK as HE tries to exit. stands in the back crying. Suddenly SNYDER and the COPS burst through the CROWD and grab JACK. MEDDA breaks away from HER MAID and BODYGUARD and slaps the MAN) No! No! For God’s sake! He’s just a child! Can’t you see that? Racetrack! (MEDDA is pulled back and RACETRACK is dragged away. mowing through the NEWSIES like farmers with scythes. F. KID BLINK gets hit with a club and is dragged away. HE is stopped by SEVERAL BURLY COPS. trying to take a picture of the violence. J. JACK breaks free of the COPS. twisting and kicking. The POLICE step high to avoid the fallen. MAYER. the following should also occur) MEDDA (RACETRACK gets MEDDA to safety and starts to leave) No! Stay with me! (A huge MAN kicks RACETRACK in the stomach and punches HIM out. JACK is grabbed by the COPS and carried off. hats. MCSWAIN and the OTHER COP come to HIS aid. his face registering the horror of the scene. H. The POLICE capture many NEWSIES. DAVID and LES survey the wreckage of the riot. sees DENTON) 83 . SARAH and ESTER cry on MAYER’S shoulders. kid. MCSWAIN drags DAVID away from the riot. broken sticks.) MCSWAIN (after part J of the previous section) I'm too soft for my own good. D. The long nightsticks connect again and again. The CHILDREN try to flee but are too densely packed. The POLICE swing long billy clubs as they cut through the CHILDREN. The BOYS see SNYDER and yell HIS name. WEASEL leads a squad of club-wielding THUGS. LES and SARAH watch. get out of here. G. we see: A. E. (DAVID looks at HIM dumbly. the remaining few of the cast leave the stage. In a stylized. (lets DAVID go) Now go on. I. C.

stares) I quit. (DAVID angry. DENTON They got us all. DAVID They got Jack. Blackout. ALL walk off.Pulitzer and Hearst cut a deal with the Sun. kid. DAVID takes LES’S hand. (HE puts an arm around DAVID'S shoulder. DAVID Kids get massacred in the streets and that's not news? (DENTON looks away) Can we go to another paper? DENTON No paper in town'll hire me. MAYER puts HIS arms around ESTER and SARAH.) 84 . No headlines. C'mon. Nothing about the rally.

HE nods to the JUDGE.) CRANE Are any of you boys represented by council? (no answer) No? Good.) WEASEL He's one of ours. We don’t even got five cents. KUEHN I been framed! (the NEWSIES laugh. RACETRACK Whoa. or two weeks confinement in the House of Refuge. your honor. We ain’t got five bucks. Twenty days. how ‘bout I roll you for it. Next! (KUEHN is deflated by the harsh sentence.) BAILIFF H.) CRANE I fine each of you five dollars. SPOT Hey. that will move things along considerably. move along. JUDGE CRANE'S courtroom is crowded with NEWSIES. WEASEL rises. hair slicked down and a new collar on HIS shirt. (DENTON and DAVID enter.) DENTON 85 . Double or nothing? CRANE Move along. CRANE's face darkens.H. your honor. assault. 14. CRANE.) CRANE One more outburst and you'll all be in the workhouse till Christmas. The BAILIFF brings up KUEHN. CRANE Dismissed. Juvenile Asylum. (the NEWSIES crack up laughing. your honor. Kuehn.Scene Eight (The lights come up on a court already in sessions. a bloody bandage on HIS head. Next! (the NEWSIES hiss and boo. Hey. HE bangs the gavel. 65. The BAILIFF brings MORRIS DELANCEY forward. CRANE bangs on HIS desk. CRANE gavels for silence. is a desiccated man with a knack for speedy injustice. your honor. I object! CRANE On what grounds? SPOT On the grounds of Brooklyn.

We have to talk. (looks at JACK) This boy has no parents. you fellas alright? Where’s Jack? DENTON Look. I guess we made all the papes this time. CRANE Pay the clerk. All of them. He and his younger brother. your honor. Everybody. destined for a life of crime. BAILIFF Jack Kelly. Weasel talkin' about us on any grounds. JACK You're a liar! CRANE Silence! 86 . I’ll pay the fines. but stop when the gavel comes down. Move it along. WEASEL A ringleader.your judgeship. The BAILIFF whispers to the JUDGE. The NEWSIES applaud. He's a snake. Michael. Cowboy! Nice shiner! JACK Hey. your honor. (JACK'S bravado leaves HIM when HE sees SNYDER approaching. Denton. So. (the BAILIFF brings JACK in handcuffed) JACK Hey fellas! RACETRACK Hey. JACK (cocky) I object to Mr.. DAVID Hey. assault. were sentenced to the House of Refuge for theft. young man. Not even the Sun. (the JUDGE glares at JACK.Your honor. Mr.) SNYDER I know this boy. He's already responsible for the death of his brother. we’ve got to meet at the restaurant. His real name is Francis Sullivan. Snyder. He's incorrigible. but not as Jack Kelly.) CRANE Someone wants to speak on your behalf. Inciting to riot.... how’s my picture look? DENTON None of the papers covered the rally. resisting arrest. Approach the bench.

(the NEWSIES whisper.. your honor. JACK is destroyed. sees the stunned look on HIS face and averts HIS eyes. I have a warrant for his arrest..until I decide he's fit to be released into civilized society.. (HE slams the gavel.) 87 .) SNYDER Thank you. then turns and smiles at the JUDGE. DAVID.) SNYDER And here he is again... Snyder. DAVID is aghast. JACK No. SNYDER . leading more innocent children astray.) LES No! (JACK is led away. shocked. (HE leads JACK past the NEWSIES to the door. I ask the court to return him to my custody.. looks up at DENTON. JACK Send me to the adult slammer inst–! CRANE That'll be up to Mr. SNYDER puts on a show of solicitude as HE gets a firm grip on JACK'S arm. Blackout. SNYDER follows. JACK looks at DAVID. I return you to the custody of the Warden of the Juvenile Asylum.

Scene Nine
(The NEWSIES sit in Tibby’s Restaurant. LES eats a hotdog. DAVID sits close. The rest of the NEWSIES are all eating, drinking, playing cards, arm wrestling, etc. DENTON enters. THEY greet HIM.) SKITTERY Why didn’t the Sun print the story? DENTON Because it never happened RACETRACK What do you mean it never happened? You were there! KID BLINK You wrote it! DENTON It’s not in the papers, it never happened. The owners decreed it not be in the papers, therefore…I came to tell you fellas good bye. BOOTS What happened? Did you get fired or something? DENTON No, I got reassigned back to my old job as the Sun’s ace war correspondent. They want me to leave right away. The owner thinks I should only cover the really important stories. (the NEWSIES say nothing. SOME turn away.) Wish me luck fellas. At least half of what I wish for you. (OTHER NEWSIES turn away) They don’t always fire you. I would be black balled from every paper in the country. I’m a newspaper man. I have to have a paper to write for. (pulls out a nicely folded sheet with writing on it.) This is the story I wrote about the rally. (hands it to DAVID) I want you to read it at least. (digging out change in his pocket) This should cover it (DENTON pays the WAITER and leaves. DAVID crumples the story up and throws it on a table) DAVID We get Jack out of the Refuge tonight. From now on, we trust no one but the Newsies. (The NEWSIES get up and leave. LES uses DENTON’S article to wrap HIS unfinished hot dog in. Blackout.)

88

Scene Ten
(The lights come up on a room in a beautiful mansion. We are in Pulitzer’s study. The magnificent room stands silent. SEITZ enters PULITZER'S study as a BUTLER leads SNYDER and JACK to armchairs. JACK has never seen such luxury. HE stares as if in a dream.) SEITZ Mr. Pulitzer is expecting us. (to WEASEL) Wait here. (HE exits) BUTLER May I offer you a drink, young man? JACK (staring at a silver urn) Huh? BUTLER A drink. Lemonade? Hot chocolate? JACK Hot chocolate? Sure...for my pal, here. (gestures to SNYDER) I'll take a beer. (it is a little flash of the old JACK. It is extinguished when SNYDER pulls HIS arm, forcing JACK down in a chair. SNYDER remains standing. SEITZ enters followed by PULITZER who enters sipping tea. HE sits in an armchair. The atmosphere is hushed, as usual. SEITZ stands.) PULITZER Thank you, Mr. Snyder (it sounds like a dismissal. SNYDER pauses, unsure what to do.) SEITZ We'd like to speak to the boy alone. (SNYDER reluctantly exits, leaving JACK alone in the middle of the room. The BUTLER stands in the back of the room. JACK feels the leather of the chair, entranced. The BUTLER moves a cup and saucer, causing a sharp rattling sound. PULITZER winces.) BUTLER Excuse me, sir. (JACK stares at PULITZER as the HE makes an effort to regain HIS composure. The BUTLER brings JACK a drink.) PULITZER That's all right, Marcus. (pauses, to JACK) I want to end the troubles we've been having. JACK Things ain't going too good for you? 89

(PULITZER chuckles, the first time we've seen HIM laugh.) PULITZER Let me get a better look at you. (SEITZ is surprised. HE guides JACK to stand right in front of PULITZER. JACK flinches as the old man reaches for HIS face. SEITZ pats JACK to reassure HIM as PULITZER explores the young man's face. PULITZER finishes, sits back, thoughtful. SEITZ signals JACK to sit again.) You seem like an intelligent young man. Tell me, what do you want in life? JACK A chance. PULITZER When I was your age I wanted to be a soldier. An officer in the Austrian army, with a sword and a fancy uniform. But they didn't want a poor boy with bad eyesight. So I came to America during the Civil War and served in the Union Army. Then I realized, why should I be a soldier in someone else's army? JACK Exactly my sentiments. PULITZER But you are, Mr. Sullivan. This strike is a children's game, and you are a young man who has run out of time for play. JACK I ain't playing. I got a plan. I'm heading west. PULITZER Good! You have spirit. What do you need? Train fare. A stake to start a business, buy some land. How much? (swift pause) Say, a hundred dollars. JACK A hundred! (JACK thinks it is an impossible amount of money. PULITZER pretends to misinterpret JACK’S outburst.) PULITZER All right. Two hundred. (JACK swallows) How long would it take you to save two hundred dollars? Ten years? I'll tell you a secret. Very soon now, newspapers will be delivered directly to the home and the independent Newsie will be history. Where will you be then, young man? Will your fellow strikers be around to help you? (looking at JACK’S drink) You haven't touched your drink. (JACK is caught off guard. HE takes a sip from the cup.) You're starting out with several strikes against you, Mr. Sullivan. But this is America; you can rise above your circumstance. I did. I had nothing, and now... JACK You got everythin'. PULITZER (grins) It's time for you to think about your future, son. No one else will. 90

THEY both exit. after all. (Blackout. and it will end.) 91 . PULIZTER You listen to me. old man. (PULITZER nods to SEITZ and exits.S. Away from the Refuge. think about it. boy. But I got to be goin’ now. JACK We must have you scared pretty bad. you’re their leader. JACK Well. Once off stage. SEITZ watches JACK for a moment. with or without you. Joe? PULITZER No. Then you go wherever you want to buy a ticket for. Go back to the Refuge tonight. JACK Are you bribin’ me. Joe. I understand he has a family. Give me your answer in the morning. Now. absorbing what PULITZER has said. (JACK cuts HIM a look. what’s his name? David. Free.) Don’t worry.) After him! SEITZ (O. And all the others. PULITZER I offer you freedom and money just to work for me again. we hear DAVID’S voice call out. What do you think the Refuge will do to him? And it will be you who put him there. You just shut your mouth and listen to me! You shut up and listen to me for once! No game I’m playing. make no mistake. You work for me until the strike’s over. I won’t be so kind.S. it’s been real nice chattin’ with ya. JACK is silent.S. these foul streets. He’s got no place to go. boy. To your friends.) DAVID (O.(HE rises) You'll make the right choice.) Jack! Come on! Come on! SNYDER (O.) SEITZ It's up to you. your partner. With money to spend and nobody chasing you.

What about your family? What happens to them if you go in jail? You don’t know nothing about jail. JACK and DAVID come running in from around one of the sides of the audience. 92 . liver. huh? JACK So. JACK I don’t understand either. During the first verse. the scrim slowly rises to reveal JACK’S cell in the Refuge. but just get outta here! DAVID No! JACK Go! (DAVID turns slowly and walks away. but you can’t let ‘em get you. And guess what I done to his sauerkraut. It’s the biggest one. olives. right Jack? That’s what you always said. DAVID I don’t care JACK Come here. HE slowly crawls onto HIS bed. JACK sits on a box. another three months. You know the stuff that we don’t ever get? He got potatoes. DAVID continues running as JACK slows down. thanks for what you done. Snyder was eating good tonight. HE has a potato) CRUCTHY Psst! Jack! Look! I snatched it off Snyder’s plate while I was serving him. DAVID I don’t understand. Mr. probably.) Santa Fe (Reprise) SANTA FE MY OLD FRIEND I CAN’T SPEND MY WHOLE LIFE HIDIN’ YOU’RE THE ONLY LIGHT THAT’S GUIDIN’ ME TODAY (CRUTCHY opens a little slot in the door. Oh.) DAVID Come on! Keep running! JACK You shouldn’t have done this.Scene Eleven (The alley scrim has fallen once again. Now. sauerkraut. They could put you in jail. There are no sheets or pillow on the bed. bacon. Dave. but you get out of here. what’d it get ya? CRUTCHY Oh.

Slow blackout.) 93 . (CRUTCHY frowns and closes the slot) WILL YOU KEEP A CANDLE BURNIN’ WILL YOU HELP ME FIND MY WAY? YOU’RE MY CHANCE TO BREAK FREE AND WHO KNOWS WHEN MY NEXT ONE WILL BE SANTA FE WAIT FOR ME (HE uses HIS shoes as a pillow and HIS jacket as a blanket.JACK We was beat when we was born. HE’S skilled at this. HE winces as HE settles in. from HIS old life on the street.

Some of the NEWSIES start to fight amongst THEMSELVES. The NEWSIES are picketing outside the World building. hey.) NEWSIES Stop the World! No more papes! Stop the World! No more papes! (etc. Hey. What are you doin’. SPOT He sold us out! RACETRACK I’ll give you a new suit! You bum! I’ll soak ya! SPOT Hey. (WEASEL leads JACK out. What’s he doing? SPOT He’s dressed like a scabber! MUSH Jack? Jack. RACETRACK No. What are you doin’ Jack? Come on. look at me.Scene Twelve (The lights come up on the courtyard. Mush. What is this? Where’d you get them clothes? WEASEL Mr. hey! Break it up. Race. what are you doin’? BOOTS Come on. Jack? KID BLINK This ain’t happening.) (The POLICE form a barricade. Come here you dirty rotten scabber! Traitor! (some NEWSIES pull SPOT away. hey. That’s Jack. it’s me. Just tell me I’m seeing things. you ain’t seeing things. HE’S in a new suit) RACETRACK What? (HE sees JACK) SPOT Just tell me I’m seeing things.) DAVID Race! Help me! I need some help! RACETRACK Alright! I ain’t deaf! SPOT Hey. come here. This can’t be happening. Look at me. will ya? Come on. A special gift to a special new employee. Pulitzer picked them out himself. hey! Let me get my hands dirty. DAVID stares at JACK) 94 .

WEASEL Aww. but WEASEL and a few POLICEMEN pull HIM away. It’s just me.) JACK What’sa matta? Got a problem? (DAVID rushes towards JACK.) WEASEL Maybe you’d like a new suit of your own. That’s good because we don’t need you! We don’t need you! All those words you said. but you never had the guts to put them across yourself. I’m away. so let me spell it out for ya. DAVID struggles. I got money in my pockets. JACK Oh. (DAVID walks up to JACK) DAVID So. Money. (DAVID starts to go back to the NEWSIES. Real money. Go right ahead. I gotta look out for myself. Alright? DAVID Well. those were mine. you understand? I got more on the way and as soon as I collect. JACK Oh. You lied about your father being out west. I can’t afford to be a kid no more. DAVID You had the Newsies. JACK Yeah. You’re a liar! You lied about everything. Dave. For the first time in my life. like you. come on. huh? DAVID Never! Never! WEASEL Get outta here! Get outta here! 95 . ‘cause he’s not out west! You didn’t even tell me your real name! JACK So? What you wanna do about it Dave? DAVID I don’t understand you. that’s good. I ain’t got nobody tucking me in at night. The NEWSIES stand motionless. did you? DAVID I do now. You wanna talk to him? Come on. Sure. what’d being a Newsies ever give me but a dime a day and a few black eyes? You know. You see. then turns to look at JACK again. I’m gone. this is why you didn’t escape last night.

yeah. so he can spy on ‘em or something. that’s it. He’s foolin’ ‘em! RACETRACK (seeing that LES doesn’t understand. Yeah. HE takes LES under HIS arm. Cowboy. (Blackout.) 96 ." (DAVID turns and walks off) SPOT Traitor! KID BLINK You make me sick! BOOTS I trusted you! RACETRACK Seize the day. he’s spying on them. kid. The NEWSIES watch HIM go. huh Jack? LES (trying to make sense of everything) He’s foolin’ ‘em.DAVID I’m not like you! (The COPS surround JACK so the NEWSIES can’t get HIM. "Newsie Leader Sells Out. Fast segue.) You'll finally get your headline.) Yeah.

‘Last night I saw naked force exercised against mere boys. It’s Denton’s article. The curtain closes. then storms off the fire escape.Scene Thirteen (The curtain opens to reveal DAVID’S apartment. ‘The Dark Truth. slams it.) SARAH David. Why Our City Really Fears The Newsies Strike’ by Bryan Denton. What is this? LES Savin’ it (HE takes the hot dog and leaves the article in SARAH’S hands.) SARAH Les. SARAH is going through things. who were…’ (DAVID climes out the window. Direct segue.) 97 . the Newsies. SHE comes across LES’S hotdog wrapped in DENTON’S article. SHE looks at it.

leaving JACK alone. I ought to be saying good night.) WEASEL One trick. You gonna be requiring anything this evening? (silence) Huh? (still no answer) No? (HE looks at HIS watch) Aww. Well then. It is the doorway to the World’s basement. (HE throws a dust covered sheet and a tiny pillow to JACK..) Ah. Remember. one trick and I go straight to Mr.) 98 . Pulitzer.Scene Fourteen (Tibby’s Restaurant turns to reveal a doorway. (HE exits.. Immediate segue. and it’s right back to the Refuge. WEASEL leads JACK to HIS new bedroom.tick tick. Cowboy.

OSCAR and MORRIS come up behind HIM. Fix him so he can’t walk. Immediate segue. Next! (JACK picks up HIS papers and leaves. JACK goes to collect HIS papers. (JACK starts to go after THEM.Scene Fifteen (We are now in courtyard. We’re gonna go fix you’re pal.) WEASEL Ah! Lift one finger and its right back to the Refuge.) WEASEL Sleep well Cowboy? OSCAR Come with us Cowboy. It is morning.) 99 . MORRIS Shut up. Davey.

(DAVID tackles OSCAR) SARAH Let go of me! (MORRIS throws HER to the ground. The alley drop has come back down. I’m alright. MORRIS holds onto SARAH while OSCAR pushes LES onto the ground. SHE has a basket full of lace.) DAVID What’s the matter? Are you alright? LES I’m alright. (SHE punches HIM. SHE runs into the alley. (SHE continues to walk with OSCAR behind HER. you’re hurting him! No! 100 .) Stop.) LES Leave my sister alone! (HE shoves OSCAR.) MORRIS Where’s your little brother. MORRIS steps out in front of HER.Scene Sixteen (Later that morning. SHE passes a LADY working. SARAH is walking to work with LES. OSCAR (OSCAR ‘bumps’ into SARAH) ’Scuse me. Sweetface. Tootsie? Where’s little Davey? (SARAH tries to get by. LADY Good mornin’. SARAH shoves MORRIS away. but the BROTHERS push HER around. We got the best part of your family right here. Help Sarah! SARAH Run Davey! OSCAR Yeah. but it doesn’t hurt HIM.) SARAH Stop it! Leave him alone! (OSCAR shoves LES into a pile of baskets. THEY crouch in a corner. run Davey.) SARAH Morning. OSCAR punches DAVID) Stop it! (calling to LES) Les! (LES comes running to HER. DAVID sees LES and helps HIM up. The BROTHERS catch HER. dear.) You stupid ape.

) LES Run! Get outta here! Don’t come back! You hear me? DAVID What? You couldn’t stay away? JACK Well. smart. JACK goes to help SARAH up) You alright? SARAH Yeah. DAVID gives OSCAR an elbow in the stomach.) 101 . you lousy coward. Cowboy. (Blackout.(MORRIS pulls out a pair of brass knuckles and puts them on. run! (The DELANCY’S exit. JACK throws MORRIS into a box) JACK Get over here.) Leave him alone! (OSCAR continues to punch DAVID. dropping HIS papers as HE goes. OSCAR and MORRIS finally get up. DAVID A scab? JACK No. (THEY hug briefly) David! (JACK goes to DAVID and checks HIM out before helping HIM up. JACK comes up behind MORRIS and punches HIM.) MORRIS (getting off the ground) You’d better run.) Stop it! Leave him alone! (JACK hears HER cries and runs. OSCAR holds DAVID as MORRIS gets ready to hit HIM with the knuckles. We’re gonna tell uncle Weas. JACK is walking down the street near the alley. You’ll be back in the Refuge before suppertime! OSCAR Run. (JACK grabs OSCAR) Remember Crutchy? (JACK head butts HIM and HE falls near MORRIS. I guess I can’t be something I ain’t. but SARAH stops HIM. LES runs to the end of the alley. JACK starts to go after THEM.

Then a thousand. But what do we know about printing a newspaper? JACK Nothing. we gotta move fast. He’s going to be an ace war correspondent. We’ll make our own paper. DAVID closes the door. Unless it’s silenced. we’ll need the Newsies to circulate. but our man Denton has something more important to do. 102 . DENTON is packing things up in boxes. We tell ‘em they gotta join us. We need a printing press. JACK Well. DENTON pulls on HIS robe as HE answers a knock on the door. The city thrives on child labor. it is. HE is shocked to see JACK and DAVID.) JACK (holding up DENTON’S article) Did you mean what you wrote here? ‘Bout all these sweat shop kids listening to me? DENTON I don’t write anything I don’t mean. Now.) So. (THEY enter. yes. but our man Denton… DAVID (laying it on thick) Yeah. there’s really not much chance of that as long as they got the power DENTON Sometimes. Isn’t that a good idea? DAVID Yeah. DENTON There’s something else that we need. one voice. I’m just packing a few things. Where do we start? (THEY sit at a table) JACK Alright. Come on in. right Denton? DENTON Alright.Scene Seventeen (The lights come up on Denton’s apartment. The tiny room has HIS photos tacked to the walls. They’re terrified that the Newsies strike will spread. all it takes is a voice. I mean it. A lot of people make money that way. JACK Why can’t we spread the strike? Have another big rally and get the word out to all the sweat shop kids? Why not? DAVID What are we going to do? Print an ad in the newspaper? JACK No! We’ll do better than that.

JACK Just so happens I know a guy with a printing press. (Blackout. Fast segue.) 103 .

JACK. we’re all in the slammer. We have a deadline. Weasel catches us here. DAVID Is it going to work? DENTON It better. (JACK uncovers a press) DENTON Alright! A Platen press.) SEE OLD MAN PULITZER SNUG IN HIS BED HE DON’T CARE IF WE’RE DEAD OR ALIVE THREE SATIN PILLOWS ARE UNDER HIS HEAD WHILE WE’RE BEGGING FOR BREAD TO SURVIVE JOE. DAVID THIS TIME WE’RE IN IT TO STAY SARAH THINK ABOUT SEIZING THE DAY JACK THINK OF THAT TRAIN AS SHE ROLLS INTO OLD SANTA FE TELL HER I’M ON MY WAY NEWSIES (O.S. WELL TONIGHT IS THE NIGHT THAT YOU CAN. They’re right above us. SARAH. JACK JUST GET THIS DONE AND BY DAWN’S EARLY LIGHT YOU CAN FINISH THE FIGHT YOU BEGAN. we are in the basement of the World Building.) Once and For All THIS IS THE STORY YOU WANTED TO WRITE. Looks like old man Pulitzer never threw anything away.Scene Eighteen (Once again. IF YOU’RE STILL COUNTING SHEEP WAKE UP AND READ ‘EM AND WEEP YOU’VE GOT YOUR THUGS WITH THEIR STICKS AND THEIR SLUGS 104 . (THEY start printing THEIR papers. DAVID and DENTON enter.) SARAH You’ve been living here? JACK Shh.

lights slowly come up on THEM. I just hope I get to thank him for it someday. By the end of the song.) THIS IS FOR KIDS SHINING SHOES ON THE STREETS WITH NO SHOES ON THEIR FEET EVERYDAY THIS IS FOR GUYS SWEATING BLOOD IN THE SHOPS WHILE THEIR BOSSES AND COPS LOOK AWAY THIS IS TO EVEN THE SCORE WE AIN’T JUST NEWSIES NO MORE THIS AIN’T JUST KIDS WITH SOME PIE IN THE SKY THIS IS DO IT OR DIE THIS IS WAR! ONCE AND FOR ALL WE’LL BE THERE TO DEFEND ONE ANOTHER ONCE AND FOR ALL EVERY KID IS A FRIEND EVERY FRIEND A BROTHER FIVE THOUSAND FISTS IN THE SKY FIVE THOUSAND REASONS TO TRY WE’RE GOING OVER THE WALL BETTER TO DIE THAN TO CRAWL EITHER WE STAND OR WE FALL FOR ONCE ONCE AND FOR ALL! (Blackout. (DENTON exits.) 105 .YEAH. BUT WE GOT A PROMISE TO KEEP ONCE AND FOR ALL SOMETHING TELLS ME THE TIDE WILL BE TURNING ONCE AND FOR ALL THERE’S A FIRE INSIDE ME THAT WONT STOP BURNING NOW THAT THE CHOICES ARE CLEAR NOW THAT TOMORROW IS HERE WATCH HOW THE MIGHTY WILL FALL FOR ONCE AND FOR ALL! (JACK hands bundles of papers to the NEWSIES who are standing outside the window. The NEWSIES spread out and hand the papers to various WORK KIDS. Pulitzer to let us use his press JACK Yeah. EVERYONE should have a flyer and should be reading while THEY sing. Also during this section.) DENTON It’s awfully nice of Mr. THOSE who place THEMSELVES on the revolving set pieces may strike a pose and sit there as the set revolves showing three different scenes on each. While THEY sing.) NEWSIES (by this time. members of the CAST [that are not handing out flyers] have mounted various parts of the set and have spread THEMSELVES over the stage and in front of the audience.

) MUSH So.with more CHILDREN joining the parade at every step. WHAT IF THE DELANCEY’S COME OUT SWINGING.Scene Nineteen (The lights come up on Newsies Square. MAYER. The NEWSIES cheer.) SPOT Brooklyn! NEWSIES & WORK KIDS THE WORLD WILL FEEL THE FIRE AND FINALLY KNOW! (EVERYONE cheers. THE MESSENGERS.S. ESTHER. Ain’t gonna be nobody but us. SPECS Have hope. DENTON.. FACTORY WORKER KIDS. WILL WE HEAR IT? RACETRACK Nah. Jack. SARAH and THE NEIGHBORS. ADULTS. The NEWSIES have gathered around the Horace Greeley statue. Jack. SWEATSHOP KIDS.) The World Will Know (Reprise) LES WHEN THE CIRCULATION BELL STARTS RINGING. WILL WE HEAR IT? LES No! RACETRACK That a boy! WORK KIDS (O.) 106 . None of the WORK KIDS and OTHER PEOPLE that were handed flyers are there. when's the others coming. kid? JACK They ain’t coming.. SPOT [leading in all of the BROOKLYN KIDS]. SNITCH Come on.) WHEN YOU’VE GOT A MILLION VOICES SINGING WHO CAN HEAR A LOUSY WHISTLE BLOW? AND THE WORLD WILL KNOW! (WORK KIDS come in from all directions. Only a few NEWSIES are there. (LES walks away from the GROUP. WOMEN'S GROUPS.

Joe! 107 . it ain’t about the money. If Joe gives in to nobodies like us. Am I right. the sound erupts from the CROWD. THEY are still mouthing ‘Strike! Strike! Strike!’ Pulitzer’s Office is revealed. only I didn’t say that. It’s like the end of the World. Now. Dave.) PULITZER I promised that if you defied me. Seitz JACK I’m not going back to jail. Bennett. At once. Read all about it. The city’s at a stand still and they all blame the chief. Hearst.) JONATHAN It’s awful. They must be here by now. it means we got the power.) (The NEWSIES make THEIR way to the front of the World Building. your circulation’s been down seventy percent. Why? JACK You see. DAVID Then what does that make you? PULITZER What? JACK Oh. (HE slams the paper onto PULITZER’S desk. I gave you a chance to be free. no matter what it costs.WORK KIDS Strike! Strike! Strike! (etc. and the mayor in such awful language. (JACK opens the window. Everyone’s calling.) JACK Extra. but since the strike. (JACK and DAVID go to PULITZER’S desk. extra. SEITZ brings in JACK and DAVID. I’ll keep that promise. boy. ‘Strike! Strike! Strike!’ PULITZER covers HIS ears. JONATHAN grabs HIS arm and whispers. Davey. I don’t understand. Joe. I’d break you.) PULITZER (to JACK) Close the window! Close the window! (to CROWD) Go home! Go home! Go home! JACK I can’t hear you. Joe? PULITZER I sent for the police. this is my pal. Anyone who doesn’t act in their own self interest is a fool. where JACK pulls out a copy of the newspaper. Mr. The Walkin’ mouth DAVID You talk about self interest. And he can’t do that. Look out here. The lights go to blue on the CROWD. Send them in. Everyday you’re losing thousands of dollars just to beat us out of one lousy tenth of a cent. and Mr. Right out here is where the power is. Joe. PULITZER is at HIS desk.

thanks again. JACK and DAVID make their way back to the CROWD. A paddy wagon pulls up. no! You listen to me! JACK No! You listen! PULITZER Close the window and shut up! JACK There’s a lot of people out there and they ain’t just gonna go away.) 108 . We beat ‘em. SEITZ Those kids put out a pretty good paper there Chief. (Lights out on Pulitzer’s Office. Joe. we only use the best. Now.) SPOT Hey. who defied me? Whose press did you use to print this on? Whose? JACK Well. So. All the NEWSIES hug and pat each other on the back WEASEL. JACK bends over and whispers in LES’S ear.) We beat ‘em! (The CROWD cheers. Putting them in jail is not going to stop them! That’s the power of the press. OSCAR and MORRIS put on their hats and leave. Joe. They got voices now and they’re going to be listened to.) JACK The strike’s over. (HE closes the window.PULITZER (to CROWD) Go home! Go home to your mothers and fathers! Go home! JACK I don’t hear ya! PULITZER (to JACK) Now you listen to me! JACK Maybe you should listen! PULITZER No.) PULITZER I ordered a printing ban on all strike matters. (PULITZER picks up the paper and reads it. The CROWD goes back to miming ‘Strike! Strike! Strike!’ PULITZER takes HIS hands away from HIS ears. fellas.) So thanks for teaching me about it. I just want to say. SNYDER is sitting in the front seat with TWO COPS. they’re over here! (The NEWSIES gather around and start asking questions. (JACK lifts LES onto HIS shoulders and looks out towards all the CHILDREN.

CRUTCHY taps HIM on the back. It’s the bulls. remember what I told ya. make friends with the rats. He’d be happy to oblige. The first thing ya do in jail. HE gets HIS crutch back and goes over to JACK and the OTHERS. may I please? POLICE OFFICER Sure kid. Not from the likes of him. it’s over. Come on. it’s the bulls. A COP leads SNYDER into the paddy wagon. (A COP opens the paddy wagon and the KIDS from the Refuge come out. NEWSIES Goodbye Warden! (the paddy wagon pulls away) CRUTCHY Oh. HE slams the door and locks it. Snyder. JACK Who comes stormin’ in? CRUTCHY You know. Anywhere you want. your friend. The last one is CRUTCHY. You don’t have to run. DENTON You won’t be seeing much of him anymore. no. you ought to seen it! He comes stormin’ into the Refuge waving his walking stick like a sword and he’s leading in this army of lawyers and cops.) JACK Heya Crutchy. And this time. Let me down! SWIFTY Down Jack. Jack.) DENTON The Governor’s very grateful that you brought this problem to his attention.) Officer. Mr.LES Jack! Jack. Say goodbye Warden. Share what you got in common. you ride inside. 109 .) CRUTCHY Ah. In the back. No. (SNYDER climbs in. Get down! KID BLINK Hide Jack DENTON Jack. A POLICE OFFICER is about to close the door. TEDDY ROOSEVELT stands shaking hands and waving to the CROWD. Him! Teddy Roosevelt (the NEWSIES are amazed. Come on. I said you might need a lift somewhere. Not anymore. (CRUTCHY hands HIS crutch to a KID.

I got family here. HE slaps down a coin. (The NEWSIES hear cheers and turn to see the carriage returning. All the NEWSIES yell and talk at the same time. if that’s what you want.) 110 . The circulation bell begins to ring. All the WORK KIDS are following. leaving the NEWSIES alone. (THEY make THEIR way to ROOSEVELT’S carriage. PIE EATER. MUSH Alright Davey. (HE gets out of the carriage and gives LES HIS cowboy hat. DAVID. BUM OR BARBER KID BLINK THEY ALMOST ALL KNOWS HOW TO READ BOOTS SUMMER STINKS SKITTERY AND WINTER’S WAITING SPECS. JACK shakes HIS hand and climbs in.) Carryin’ the Banner (Reprise) MUSH TRY BOTTLE ALLEY OR THE HARBOR RACETRACK TRY CENTRAL PARK. IT’S GUARANTEED CRUTCHY TRY ANY BANKER. ITEY & JAKE BOY AIN’T NATURE FASCINATING NEWSIES WHEN YOUSE GOTTA WALK (The NEWSIES line up for THEIR papers. Besides. SWIFTY. Like you said.) Dave. DAVID is first in line. The WORK KIDS follow the carriage as it leaves. Governor.JACK So. can he drop me at the train yards? DENTON Yeah. I still got things to do. BUMLETS & SNIPESHOOTER WELCOME TO NEW YORK SNODDY. BOOTS throws JACK a bag. LES and SARAH watch sadly. he’s back! JACK Thanks for the advice.) DAVID Hundred papes.

LES and CRUTCHY lead the way. GROUP TWO YOU GOT ‘EM. JACK.) SARAH Bye Spot! JACK Go back to Brooklyn ya hear! (DAVID. JACK Come here. with ROOSEVELT and SPOT in it.) GROUP ONE IT’S A FINE LIFE CARRYIN’ THE BANNER. Davey. SARAH makes HER way through the CROWD. This concludes Act Two. The NEWSIES. The carriage pulls away. THEY repeat the following section until EVERYONE is offstage. IT’S A FINE LIFE CARRYIN’THE BANNER. DENTON shakes DAVID’S hand. All the NEWSIES cheer and yell. dance as THEY leave through the audience. SPOT tips HIS hat and waves as HE leaves. SARAH. IT’S A FINE LIFE CARRYIN’ THE BANNER. how’s the headline today? DAVID Headlines don’t sell papes.So. Newsies sell papes. IT’S A FINE LIFE CARRYIN’ THE BANNER. DAVID spits in HIS and shakes it. then goes to the side and starts writing. THEY should split at center and dance their way out each side and make their way behind the audience. with THEIR papers. HER and JACK kiss. (JACK holds out HIS hand. COWBOY YOU SHOWED ‘EM HOW BOY! YOU GOT ‘EM COWBOY YOU SHOWED ‘EM HOW BOY! 111 .