Newsies - Libretto

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Originally Written by: Bob Tzudiker & Noni White

Song Score by: Jack Feldman and Alan Menken

Rewrites by: David Fallon and Tom Rickman

Stage Adaptation and Score by: Philip McBride 2

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.

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NEWSIES Cast of Characters

The Newsies Jack Kelly David Jacobs Les Jacobs Racetrack Crutchy Boots Mush

Dutchy Snoddy Skittery Bumlets Pie Eater Swifty Kuehn

Kid Blink Spot Conlon Snitch Jake Itey Snipeshooter Specs 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

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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

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

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Carrying the Banner

My Lovey Dovey Baby

Santa Fe

The World Will Know

Seize the Day Proud of Your Boy

Seize the Day (Reprise)

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

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King of New York

High Times, Hard Times

Santa Fe (Reprise)

Once and For All World Will Know (Reprise) Carryin’ the Banner (Reprise)

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)

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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.)

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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) 9

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! Carrying the Banner 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.’ 10

(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! 11

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 STILL, IT'S A FINE LIFE CARRYING THE BANNER WITH MY CHUMS A MIGHTY FINE LIFE BLOWING EVERY NICKEL AS IT COMES.

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

(stepping forward) I’M NO SNOOZER! SITTIN’ MAKES ME ANCY I LIKES LIVIN’ CHANCEY NEWSIES 12

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 PATRICK, DARLING SINCE YOU LEFT ME, I AM UNDONE MOTHER LOVES YOU GOD SAVE MY SON!

RACETRACK JUST GIVE ME HALF A CUP. 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, PLEASE.

CRUTCHY I GOTTA SELL MORE PAPES.

(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 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!

NEWSIES WE NEED A GOOD ASSASSINATION! WE NEED AN EARTHQUAKE OR A WAR! SNIPESHOOTER (steps out) HOW ‘BOUT A CROOKED POLITITION? 13

GROUP TWO WHAT'S IT SAY? THAT WON'T PAY! SO WHERE'S YOUR SPOT? GOD, IT'S HOT! WILL YA TELL ME HOW I’M GONNA MAKE ENDS MEAT!

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 STILL WE'LL BE OUT THERE CARRYING THE BANNER MAN TO MAN!

YES, WE'LL BE OUT THERE SOAKING EVERY SUCKER THAT WE CAN! SEE THE HEADLINE NEWSIES ON A MISSION KILL THE COMPETITION SELL THE NEXT EDITION WHILE WE'RE OUT THERE CARRRYIN’ THE BANNER IS THE…

GROUP TWO LOOK, 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. HITCHED IT ON A TROLLEY. LITTLE ITALY’S A SECRET.

GROUP THREE HEARD IT KILLED OLD MAN MAGUIRE. WHY DO I MISS ALL THE FUN? MEET YOU FOURTYFOURTH AND SECOND BLEECKER’S FURTHER THAN I RECONED

AT THE COURTHOUSE. NEAR THE STABLES ON THE CORNER 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. 14

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: 15

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.)

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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, 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, 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 17

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

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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! 19

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) 20

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. 21

(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. 22

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) 23

‘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.)

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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. 25

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)

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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. 27

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. 28

(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.)

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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? 30

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.)

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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. 32

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.) 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, 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.) 33

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.)

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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) 35

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) 36

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.)

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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.) Santa Fe 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 38

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 39

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.)

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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.)

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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. 42

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. 43

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. The World Will Know JACK (relaying DAVID’S message) PULITZER AND HEARST, THEY THINK WE’RE NOTHING. ARE WE NOTHING? NEWSIES No!

44

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? 45

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! 46

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

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. 48

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.)

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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. 50

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)

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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 toughlooking 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) 52

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.)

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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.)

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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

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.)

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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 57

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? 58

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

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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 60

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.)

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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.)

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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.)

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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.") 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. 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 64

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.)

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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 66

(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! King of 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 67

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, let’s have some ideas. DAVID 69

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.)

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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.)

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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.)

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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. 73

(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.)

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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. 75

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 76

(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)

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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)

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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! 79

(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.) 80

High Times, Hard Times 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 81

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 82

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) 83

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.)

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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 85

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! 86

(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.)

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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.)

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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

(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.)

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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 (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. 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. 92

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.)

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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) 94

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! 95

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.)

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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.)

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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.)

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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.)

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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! 100

(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.)

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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. 102

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

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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.) Once and For All

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 104

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.)

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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.) The World Will Know (Reprise) 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.) 106

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! 107

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.) 108

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. 109

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.) Carryin’ the Banner (Reprise) 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.) 110

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!

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