Newsies - Perusal

L I B R E T T O V O C A L B O O K

M u s i c b y A l a n M e n k e n Ly r i c s b y J a c k F e l d m a n

B o o k b y H a r v e y F i e r s t e i n

B a s e d o n t h e D i s n e y F i l m w r i t t e n b y B o b T z u d i k e r a n d N o n i W h i t e

O r i g i n a l l y p r o d u c e d o n B r o a d w a y b y D i s n e y T h e a t r i c a l P r o d u c t i o n s

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Disney’s NEWSIES

Character List

JACK KELLY – leader of the newsies

CRUTCHIE – newsie with a bum leg

DAVEY – new, bookish newsie

LES – Davey’s fearless younger brother

RACE, ALBERT, SPECS, HENRY, FINCH, ROMEO, ELMER, MUSH, BUTTONS, SPLASHER, TOMMY BOY, JO JO, MIKE, IKE, etc. – newsies

SCABS (3)

SPOT CONLON – leader of the Brooklyn newsies

KATHERINE PLUMBER – ambitious young reporter

DARCY – upper-class son of a publisher

BILL – son of William Randolph Hearst

WIESEL – runs the World’ s distribution window

MORRIS DELANCEY – heavy at the World’ s distribution window

OSCAR DELANCEY – Morris’s equally tough brother

GOONS

JOSEPH PULITZER – no-nonsense publisher of the World

SEITZ – Pulitzer ’ s editor

BUNSEN – Pulitzer ’ s bookkeeper

HANNAH – Pulitzer ’ s secretary

NUNZIO – Pulitzer ’ s barber

GUARD

SNYDER – warden of The Refuge

MEDDA LARKIN – vaudeville star and theater owner

BOWERY BEAUTIES – showgirls at Medda’s theater STAGE MANAGER

NUNS (3)

WOMAN – newspaper customer

MR. JACOBI – owner of Jacobi’s Deli POLICEMEN

MAYOR

GOVERNOR TEDDY ROOSEVELT

In the original Broadway production, the adult (non-newsie) ensemble comprised eight actors who doubled and understudied as indicated below All other featured roles and understudies were cast from the ensemble of newsies Feel free to follow these tracks or expand as your resources allow

FEMALE ENSEMBLE 1 – Nun / Hannah / Bowery Beauty / Katherine understudy

FEMALE ENSEMBLE 2 – Nun / Woman / Bowery Beauty / Medda understudy

FEMALE ENSEMBLE 3 – Nun / Medda Larkin

MALE ENSEMBLE 1 – Wiesel / Stage Manager / Mr. Jacobi / Mayor / Pulitzer understudy

MALE ENSEMBLE 2 – Seitz / Roosevelt understudy

MALE ENSEMBLE 3 – Bunsen / Male Ensemble 1 understudy

MALE ENSEMBLE 4 – Nunzio / Guard / Policeman / Roosevelt

MALE ENSEMBLE 5 – Snyder / Pulitzer understudy

Disney’s NEWSIES

(#6A)

(#6B) To the Distribution Window

(#8)

(#12) Santa Fe

(#12A)

(#13A)

(#14)

(#14A)

(#15) Watch What Happens (Reprise)

(#17) Brooklyn’s Here (cont’d)

(#17A) To the Rooftop

(#18) Something to Believe In

(#19) Seize the Day (Reprise)

Once and for All

(#20A) Once and for All (Playoff)

8. PULITZER’S OFFICE, NEXT MORNING

(#21) Finale Ultimo (Part 1)

(#21A) Finale

(Part 2)

(#23) Exit Music

# 1 O v e r t u r e

(Summer, 1899. A figure sleeps peacefully on a rooftop amid the moonlit Manhattan cityscape. It is JACK, a charismatic boy of seventeen. Across the rooftop, another figure stirs. CRUTCHIE, a slight and sickly boy of fifteen, walks with the aid of a wooden crutch. He crosses to the fire escape ladder and fumbles, trying to climb down. JACK stirs.)

# 2 S a n t

J A C K

Where you going? Morning bell ain’t rung yet Get back to sleep

C R U T C H I E

I wanna beat the other fellas to the street I don’t want anyone should see; I ain’t been walkin’ so good.

J A C K

Quit gripin’. You know how many guys fake a limp for sympathy? That bum leg of yours is a gold mine

C R U T C H I E

Someone gets the idea I can’t make it on my own, they’ll lock me up in The Refuge for good. Be a pal, Jack. Help me down.

(loses his footing and almost falls, yelps)

Whoa!!!

(JACK rushes to CRUTCHIE’s rescue, pulling the boy back from danger )

J A C K

You wanna bust your other leg, too?

C R U T C H I E

No. I wanna go down.

J

A C K

You’ll be down there soon enough. Take a moment to drink in my penthouse high above the stinkin’ streets of New York

C R U T C H I E

You’re crazy

J A C K

Because I like a breath of fresh air? ‘Cause I like seein’ the sky and the stars?

C R U T C H I E

You’re seein’ stars all right!

J A C K

Them streets down there sucked the life right outta my old man Years of rotten jobs, stomped on by bosses. And when they finally broke him, they tossed him to the curb like yesterday’s paper. Well, they ain’t doin’ that to me.

C R U T C H I E

But everyone wants to come here.

J A C K

New York’s fine for those what can afford a big strong door to lock it out. But I tell you, Crutchie, there’s a whole other way out there. So you keep your small life in the big city. Give me a big life in a small town.

T H E Y S AY F O L K S I S D Y I N ’ TO G E T H E R E

M E , I ’ M D Y I N ’ TO G E T AWAY

TO A L I T T L E TO W N O U T W E S T T H AT ’ S S PA N K I N ’ N E W A N D W H I L E I A I N ’ T N E V E R B E E N T H E R E

C A N S E E I T C L E A R A S D AY

I F Y O U WA N T, I B E T ’ C H A

O U C O U L D S E E I T, TO O

A N D T H E Y W E N T A N D M A D E A C I T Y O U T TA C L AY

W H Y, T H E M I N U T E T H AT Y O U G E T T H E R E

F O L K S ’ L L WA L K R I G H T U P A N D S AY

“ W E L C O M E H O M E , S O N

W E L C O M E H O M E TO S A N TA F E ! ”

(CRUTCHIE is taken under Jack’s spell.)

P L A N T I N ’ C R O P S ,

S P L I T T I N ’ R A I L S

S WA P P I N ’ TA L E S A R O U N D T H E F I R E

’ C E P T F O R S U N D AY, W H E N Y O U L I E A R O U N D A L L D AY

S O O N Y O U R F R I E N D S A R E M O R E L I K E FA M ’ LY

A N D T H E Y ’ S B E G G I N G Y O U TO S TAY !

( J A C K )

A I N ’ T T H AT N E AT ?

L I V I N ’ S S W E E T

I N S A N TA F E

You got folks there?

Got no folks nowhere. You?

I don’t need folks. I got friends.

C R U T C H I E

J A C K

C R U T C H I E

J A C K

How’s about you come with me? No one worries about no gimp leg in Santa Fe.

You just hop a palomino and ride in style

C R U T C H I E

Feature me: ridin’ in style

J A C K

I bet a few months of clean air and you could toss that crutch for good

J A C K , C R U T C H I E

S A N TA F E

Y O U C A N B E T

E W O

J A C K

W O R K T H E L A N D

C H A S E T H E S U N

J A C K , C R U T C H I E

S W I M T H E W H O L E R I O G R A N D E

J U S T F O R F U N !

(stands on his own)

WAT C H M E S TA N D !

WAT C H M E R U N

C R U T C H I E

(CRUTCHIE realizes his recovery is just a fantasy and turns away from JACK.)

Hey

(CRUTCHIE looks at him. JACK wraps his arms around his friend protectively.)

D O N ’ T Y O U K N O W T H AT W E ’ S A FA M ’ LY ?

W O U L D I L E T YA D O W N ?

N O WAY !

J U S T H O L D O N , K I D

T I L L T H AT T R A I N M A K E S S A N TA F E

(CRUTCHIE leans against JACK as the sun rises behind them. The church bell tolls 5 a.m., which breaks the spell.)

Time for dreamin’s done.

(JACK takes Crutchie’s crutch and bangs it on the fire escape metal, sounding an alarm.)

Hey! Specs, Racer, Henry, Albert, Elmer. Get a move on, boys. Them papes don’t sell themselves!

S C E N E O N E : N e w b o y s ’ L o d g i n g H o u s e & N e w s i e S q u a r e

(RACE, a little tough guy, calls to the others as he dresses.)

R A C E

Hey, Albert, Elmer, Specs! You heard Jack Get a move on (ALBERT appears next to him, still wiping the sleep from his eyes.)

I was havin’ the most beautiful dream My lips is still tingling

A pretty girl?

(More BOYS begin to appear as they dress and wash ALBERT smokes a cigar )

(referring to the other BOYS)

F I N C H

T RY A N Y B A N K E R , B U M , O R B A R B E R

T H E Y A L M O S T A L L K N O W S H O W TO R E A D

J A C K

I T ’ S A C R O O K E D G A M E W E ’ R E P L AY I N ’

O N E W E ’ L L N E V E R L O S E

L O N G A S S U C K E R S D O N ’ T M I N D PAY I N ’

J U S T TO G E T B A D N E W S !

(The NEWSIES move outdoors to Newsie Square.)

N E W S I E S

A I N ’ T I T A F I N E L I F E

C A R RY I N G T H E B A N N E R T H R O U G H I T A L L !

A M I G H T Y F I N E L I F E

C A R RY I N G T H E B A N N E R TO U G H A N D TA L L

W H E N T H AT B E L L R I N G S

W E G O E S W H E R E W E W I S H E S

W E ’ S A S F R E E A S F I S H E S

S U R E B E AT S WA S H I N ’ D I S H E S

W H AT A F I N E L I F E

C A R RY I N G T H E B A N N E R H O M E F R E E A L L

(KATHERINE, a lovely young lady, walks by with a male friend, DARCY. ROMEO spots her and starts toward her, but JACK sees her too.)

R O M E O

Well, hello, hello, hello, beautiful

J A C K

Step back, Romeo Nothin’ what concerns you here

(moves ROMEO aside and shoots to KATHERINE)

Morning, Miss Can I interest you in the latest news?

K A T H E R I N E

The paper isn’t out yet

J A C K

I’d be delighted to bring it to you personally

K A T H E R I N E

I’ve got a headline for you: “Cheeky Boy Gets Nothing for His Troubles!”

(KATHERINE brushes past JACK as DARCY laughs.)

R O M E O

(to JACK)

Back to the bench, slugger. You struck out.

J A C K

(feigning pain)

I’m crushed.

F I N C H

Hey, Crutchie. What’s your leg say? Gonna rain?

C R U T C H I E

(shakes his leg)

No rain. Partly cloudy. Clear by evening.

F I N C H

They oughta bottle this guy.

R A C E

And the limp sells fifty papes a week all by itself.

C R U T C H I E

I don’t need the limp to sell papes. I got personality.

( N E W S I E S )

S T I L L , I T ’ S A F I N E L I F E ( S T I L L , I T ’ S A F I N E L I F E )

C A R RY I N G T H E B A N N E R ( C A R RY I N G T H E B A N N E R )

W I T H M E C H U M S ( W I T H M E C H U M S )

A B U N C H O ’ B I G S H O T S ( A B U N C H O ’ B I G S H O T S )

TO S S I N ’ O U T A F R E E B I E TO T H E B U M S ( TO S S I N ’ O U T A F R E E B I E )

F I N C H

(calling to the NEWSIES)

H E Y ! W H AT ’ S T H E H O L D U P ?

WA I T I N ’ M A K E S M E A N T S Y

I L I K E S L I V I N ’ C H A N C E Y

N E W S I E S

H A R L E M TO D E L A N C E Y

W H AT A F I N E L I F E

C A R RY I N G T H E B A N N E R T H R O U G H T H E …

(A trio of NUNS appears and distributes a breakfast of coffee and doughnuts to the NEWSIES.)

N U N S

B L E S S E D C H I L D R E N

T H O U G H Y O U WA N D E R

L O S T A N D D E P R AV E D

J E S U S L O V E S Y O U Y O U S H A L L B E S AV E D E L M E R

Thanks for the grub, Sistuh

N U N 1 Elmer, when are we going to see you inside the church?

E L M E R

I don’t know, Sistuh But it’s bound to rain sooner or later

R A C E

C U R D L E D C O F F E E

C O N C R E T E D O U G H N U T S

S P R I N K L E D W I T H M O L D

H O M E M A D E B I S C U I T S ,

J U S T T W O Y E A R S O L D N U N S

B L E S S E D C H I L D R E N A H

J E S U S L O V E S Y O U A H

(simultaneously with RACE and NUNS:)

E L M E R

J U S T G I M M E H A L F A C U P

H E N R Y

S O M E T H I N G TO WA K E M E U P

R O M E O

I G O T TA F I N D A N A N G L E

T O M M Y B O Y

I T ’ S G E T T I N ’ B A D O U T T H E R E

M U S H

PA P E R S I S A L L I G O T

S P E C S

I T ’ S E I G H T Y- E I G H T D E G R E E S

J O J O

J A C K S AY S TO C H A N G E M Y S P O T

A L B E R T

W I S H I C O U L D C AT C H A B R E E Z E F I N C H

M AY B E I T ’ S W O RT H A S H O T

U T T O N S A L L I C A N C AT C H I S F L E A S

A C K

I F I H AT E T H E H E A D L I N E

I ’ L L M A K E U P A H E A D L I N E J A C K , C R U T C H I E

A N D I ’ L L S AY A N Y T H I N G I H AV E ’ TA

J A C K , C R U T C H I E , R A C E , R O M E O

’ C A U S E AT T W O F O R A P E N N Y

I F I TA K E TO O M A N Y

W E A S E L J U S T M A K E S M E E AT ’ E M A F TA’

(The NEWSIES continue their journey through downtown Manhattan.)

N E W S I E S G R O U P 1

G O T A F E E L I N ’ ‘ B O U T T H E

H E A D L I N E !

N E W S I E S G R O U P 2 I D O , TO O !

( N E W S I E S G R O U P 1 )

I S M E L L S M E A H E A D L I N E !

PA P E S A R E G O N N A S E L L L I K E W E

WA S G I V I N ’ ‘ E M AWAY !

B E T ’ C H A D I N N E R I T ’ S A D O O Z Y

‘ B O U T A P I S TO L - PA C K I N ’ F L O O Z Y

W H O K N O W S H O W TO M A K E A

N E W S I E ’ S D AY !

( N E W S I E S G R O U P 2 )

S O I T M U S T B E T R U E !

W H AT A S W I T C H !

S O O N W E ’ L L A L L B E R I C H !

D O N ’ T K N O W A B E T T E R WAY

TO M A K E A

N E W S I E ’ S D AY !

N E W S I E S

Y O U WA N N A M O V E T H E N E X T E D I T I O N ?

G I V E U S A E A RT H Q U A K E O R A WA R E L M E R

H O W ’ B O U T A C R O O K E D P O L I T I C I A N ?

N E W S I E S

YA N I T W I T, T H AT A I N ’ T N E W S N O M O R E !

U P TO W N TO G R A N D C E N T R A L S TAT I O N

D O W N TO C I T Y H A L L

W E I M P R O V E S O U R C I R C U L AT I O N

WA L K I N ’ T I L L W E FA L L !

N E W S I E S G R O U P 1

B U T W E ’ L L B E O U T T H E R E

C A R RY I N G T H E B A N N E R

M A N TO M A N

W E ’ R E A LWAY S O U T T H E R E

S O A K I N ’ E V ’ RY S U C K E R

T H AT W E C A N

H E R E ’ S T H E H E A D L I N E :

“ N E W S I E S O N A M I S S I O N ! ”

K I L L T H E C O M P E T I T I O N !

S E L L T H E N E X T E D I T I O N !

W E ’ L L B E O U T T H E R E

C A R RY I N G T H E B A N N E R !

S E E U S O U T T H E R E

C A R RY I N G T H E B A N N E R !

A LWAY S O U T T H E R E

C A R RY I N G T H E B A N N E R !

N E W S I E S G R O U P 2

G O T A F E E L I N ’ ‘ B O U T T H E H E A D L I N E !

I S M E L L S M E A H E A D L I N E !

PA P E S A R E G O N N A S E L L L I K E

W E WA S G I V I N ’ ‘ E M AWAY !

B E T ’ C H A D I N N E R I T ’ S A D O O Z Y

‘ B O U T A P I S TO L - PA C K I N ’ F L O O Z Y

D O N ’ T K N O W A N Y B E T T E R WAY

TO M A K E A N E W S I E ’ S D AY !

I WA S S TA K I N ’ O U T T H E C I R C U S

A N D T H E N S O M E O N E S A I D T H AT C O N E Y ’ S

R E A L LY H O T, B U T W H E N I G O T T H E R E

T H E R E WA S S P O T W I T H A L L H I S C R O N I E S

H E C K , I ’ M G O N N A TA K E W H AT L I T T L E

D O U G H I G O T A N D P L AY T H E P O N I E S !

W E AT L E A S T D E S E RV E S A H E A D L I N E

F O R T H E H O U R S T H AT T H E Y W O R K U S

J E E Z , I B E T I F I J U S T S TAY E D

A L I T T L E L O N G E R AT T H E C I R C U S

(The NEWSIES have arrived at the locked gate in front of the World – a prominent newspaper owned by Joseph Pulitzer )

F I N C H

Hey, look! They’re puttin’ up the headline.

S P E C S

I hope it’s really bloody. With a nice clear picture.

(A large chalkboard looms above. The NEWSIES watch in anticipation as a MAN writes the headline in large letters, “TROLLEY STRIKE ENTERS THIRD WEEK.”)

E L M E R

The trolley strike? Not again!

Three weeks of the same story.

They’re killin’ us with that snoozer.

R A C E

F I N C H

(Two tough-looking boys, OSCAR and MORRIS DELANCEY, unlock the gates.)

M O R R I S

Make way. Step aside.

R A C E

Dear me, what is that unpleasant aroma? I fear the sewer may have backed up during the night.

C R U T C H I

Or could it be…

… the Delancey brothers.

N E W S I E S

F I N C H

Hey, Oscar, word on the street says you and your brother took money to beat up striking trolley workers.

O S C A R

So? It’s honest work.

A L B E R T

But crackin’ the heads of defenseless workers?

O S C A R

I take care of the guy who takes care of me.

R A C E

Ain’t your father one of the strikers?

O S C A R

Guess he didn’t take care of me!

(As if to make his point, MORRIS grabs CRUTCHIE and throws him to the ground.)

M O R R I S

You want some of that too? Ya lousy crip!

(JACK pulls CRUTCHIE back to his feet and then confronts the DELANCEYS. The NEWSIES back up to give JACK room )

J A C K

Now that’s not nice, Morris.

Five to one Jack skunks ’em!

R A C E

J A C K

One unfortunate day you might find you got a bum gam of your own. How’d you like us pickin’ on you? Maybe we should find out

(And with that, JACK takes Crutchie’s walking stick and smacks the DELANCEYS in the shins, knocking them both to the ground )

O S C A R

Wait till I get my hands on you.

Ya gotta catch me first.

J A C K

(A chase ensues as the NEWSIES sing and dance their way in through the gate )

LWAY S O U T T H E R E

S O A K I N ’ E V ’ RY S U C K E R T H AT W E C A N

H E R E ’ S T H E H E A D L I N E :

“ N E W S I E S O N A M I S S I O N ! ”

K I L L T H E C O M P E T I T I O N !

S E L L T H E N E X T E D I T I O N !

W E ’ L L B E O U T T H E R E

C A R RY I N G T H E B A N N E R !

S E E U S O U T T H E R E

C A R RY I N G T H E B A N N E R !

A LWAY S O U T T H E R E

C A R RY I N G T H E B A N N E R !

(

N E W S I E S )

A H , A H , A H G O !

(The NEWSIES arrive at the distribution windows of the World. WIESEL, an illtempered, rumpled man, appears with the DELANCEYS to collect the money and distribute the newspapers to the NEWSIES.)

W I E S E L

Papes for the newsies! Line up!

(JACK is the first to the window.)

J A C K

Good morning, Weasel Did you miss me?

W I E S E L

The name ’ s Wise-el

Ain’t that what I said?

(slapping down his money)

I’ll take the usual

A hundred papes for the wise guy

J A C K

W I E S E L

(OSCAR hands over the papers and RACE moves up to the window.)

R A C E

How’s it going, Weasel?

At least call me “mister ”

W I E S E L

R A C E

I’ll call you sweetheart if you’d spot me fifty papes

(The other NEWSIES laugh.)

Drop the cash and move it along.

(slapping down his coin)

Whatever happened to romance?

W I E S E L

R A C E

Fifty for the Race Next!

Good morning, Mr Wiesel

Fifty papes for Crutchie

W I E S E L

C R U T C H I E

W I E S E L

(DAVEY, a 17-year-old boy who appears out of his element, and his kid brother LES are next in line.)

Have a look at this: a new kid.

I’m new too!

Don’t worry, kid – rubs right off.

I’ll take twenty newspapers, please.

E S

R A C E

D A V E Y

W I E S E L

Twenty for the new kid. Let’s see the dime.

D A V E Y

I’ll pay you when I sell them.

Funny, kid. C’mon, cash up front.

W I E S E L

D A V E Y

But whatever I don’t sell, you buy back, right?

W I E S E L

Certainly. And every time you lose a tooth I put a penny under your pillow. This kid’s a riot C’mon Cough up the cash or blow

(DAVEY hands over a dime, gets his papers, and looks them over.)

Come on, move along Albert, lemme see your money

A L B E R T

You have a very interestin’ face Ever think of gettin’ into the movin’ pictures?

W I E S E L

You think I could?

Sure Buy a ticket, they let anyone in

A L B E R T

D A V E Y

Sorry Excuse me I paid for twenty but you gave me nineteen (EVERYONE freezes and watches.)

W I E S E L

You seen how nice I was to dis new kid? And what did I get for my civility? Ungrounded accusations.

D A V E Y

I just want what I paid for.

He said beat it!

O S C A R

(The DELANCEYS start to crack their knuckles when JACK swoops in and quickly counts the papers.)

J A C K

New kid’s right, Weasel Ya gave him nineteen I’m sure it was an honest mistake on account’a Oscar can’t count to twenty with his shoes on.

(OSCAR threatens to attack WIESEL pushes him back and tosses another paper to DAVEY.)

W I E S E L

Here Now take a hike

(flipping a coin onto the counter) Give him another fifty papes.

I don’t want more papes.

J A C K

D A V E Y

J A C K

What kind’a newsie don’t want more papes?

(OSCAR hands DAVEY a stack of papers. DAVEY follows JACK with them.)

D A V E Y

I’m no charity case I don’t even know you L E S

His name ’ s Jack

C R U T C H I E

This here is the famous Jack Kelly He once escaped jail on the back of Teddy Roosevelt’s carriage. Made all the papes.

J A C K

(to LES)

How old are you, kid?

I’m ten. Almost.

L E S

J A C K

If anybody asks, you ’ re seven. Younger sells more papes, and if we ’ re gonna be partners

D A V E Y

Who said we want a partner?

C R U T C H I E

Sellin’ with Jack is the chance of a lifetime You learn from him, you learn from the best.

D A V E Y

If he’s the best, what’s he need with me?

J A C K

’Cause you got a little brother and I don’t. That puss could easy sell a thousand papes a week

(to LES)

Look sad, kid

(LES makes a sad face.)

We’re gonna make millions.

This is my brother David. I’m Les.

L E S

J A C K

Nice to meet ya, Davey. My two bits come off the top, then we split everything 7030.

L E S

50-50! You wouldn’t try to pull a fast one on a little kid.

J A C K

60-40 and that’s my final offer.

Deal.

L E S

(JACK spits in his hand and holds it out to shake. LES copies him and they shake.)

That’s disgusting

It’s just business (to ALL)

D A V E Y

J A C K

Newsies, hit the streets The sun is up, the headline stinks, and this kid ain’t gettin’ any younger!

# 3 C a r r y i n g t h e B a n n e r ( T a g ) N e w s i e s N E W S I E S

W E ’ L L A L L B E O U T T H E R E

C A R RY I N G T H E B A N N E R M A N TO M A N

W E ’ R E A LWAY S O U T T H E R E

S O A K I N ’ E V ’ RY S U C K E R T H AT W E C A N

H E R E ’ S T H E H E A D L I N E :

“ N E W S I E S O N A M I S S I O N ! ”

K I L L T H E C O M P E T I T I O N !

S E L L T H E N E X T E D I T I O N !

W E ’ L L B E O U T T H E R E

C A R RY I N G T H E B A N N E R !

S E E U S O U T T H E R E

C A R RY I N G T H E B A N N E R !

A LWAY S O U T T H E R E

C A R RY I N G T H E B A N N E R !

A H , A H , A H G O !

(The NEWSIES exit as the scene shifts to )

S C E N E T W O : P u l i t z e r ’ s O f f i c e , A f t e r n o o n

(Editor SEITZ, secretary HANNAH, and accountant BUNSEN huddle in a business meeting. The mogul, JOSEPH PULITZER, is having his hair cut by NUNZIO, the barber.)

P U L I T Z E R

Gentlemen, the World is in trouble Our circulation is down for the third quarter in a row.

S E I T Z

But, Mr. Pulitzer, every paper ’ s circulation is down since the war ended.

P U L I T Z E R

Whoever said “ war is hell” wasn’t trying to sell newspapers.

B U N S E N

We could use an exciting headline.

What have we got today?

The trolley strike.

That’s not exciting? It’s epic!

P U L I T Z E R

S E I T Z

P U L I T Z E R

H A N N A H

It’s boring. Folks wanna know, “Is the trolley comin’ or ain’t it?” No one cares why.

S E I T Z

And the strike’s about to be settled. Governor Roosevelt just put his support behind the workers.

P U L I T Z E R

That man is a socialist.

S E I T Z

Teddy Roosevelt is no socialist. He’s an American hero.

P U L I T Z E R

The man wants to outlaw football for being too violent. Football! Violent?! You’re right. He’s no socialist. He’s a commie!

N U N Z I O

Mr. Pulitzer, please, you must try to sit still.

P U L I T Z E R

Gentlemen, please, you are making Nunzio nervous. And when Nunzio gets nervous, I don’t look pretty.

(PULITZER sits back.)

H A N N A H

You never liked Roosevelt You wrote an editorial against him day after day when he ran for governor. And guess what? He got elected.

P U L I T Z E R

How can I influence voters if they’re not reading my opinion? S E I T Z

Big photos attract readers.

Do you know what big photos cost?

P U L I T Z E R

B U N S E N

But without flashy photos or headlines, how are we supposed to sell more papers?

P U L I T Z E R

There’s an answer right before your eyes. You’re not thinking this through.

Yes

P U L I T Z E R

B U N S E N

But if we raised their price to sixty cents per hundred

P U L I T Z E R

Now you ’ re getting somewhere

A mere tenth of a penny per paper

S E I T Z

B U N S E N

Every single newsie would have to sell twenty-five more papers just to earn the same amount as always.

P U L I T Z E R

My thought exactly. It’s genius.

H A N N A H

It’s going to be awfully rough on those children.

P U L I T Z E R

Nonsense. I’m giving them a real life lesson in economics. I couldn’t offer them a better education if they were my own.

H E N T H E R E ’ S D I RT O N O U R S H O E S , B O Y S

F O R G O D ’ S S A K E , R E L A X !

W H Y T H R O W T H E M O U T ? A L L W E N E E D I S S O M E WA X

L I S T E N W E L L TO T H E S E B A R B E R S H O P L E S S O N S

F O R T H E Y ’ L L S E E Y O U T H R O U G H S E I T Z , H A N N A H , B U N S E N

W H E N Y O U ’ R E S T U C K I N T H E M U C K , Y O U ’ L L B E F I N E

Y O U ’ L L E R A S E A N Y T R A C E O F D E C L I N E S E I T Z

W I T H A T R I M !

H A N N A H A N D A S N I P !

A N D A S H I N E

B U N S E N

P U L I T Z E R

A N D T H E P O W ’ R O F T H E P R E S S , Y E S !

O N C E A G A I N I S M I N E !

The price for the newsies goes up in the morning!

J U S T A F E W C O M M O N C E N T S

G E N T S

T H AT ’ S T H E B O T TO M L I N E !

S E I T Z , H A N N A H , B U N S E N

E V ’ RY N E W O U T C O M E

I S I N C O M E F O R Y O U

T H A N K S TO T H AT B O T TO M L I N E !

(The lights shift from the office to the NEWSIES during the scene transition.)

(The scene transitions to…)

S C E N E T H R E E : A S t r e e t C o r n e r

(JACK leans against a building as DAVEY attempts to peddle papers to PASSERSBY.)

D A V E Y

Paper Paper Evenin’ pape here

Sing ’ em to sleep why dontcha?

J A C K

(snatches a paper from DAVEY and hawks it)

Extra! Extra! Terrified flight from burnin’ inferno You heard the story right here!

(A MAN snatches the paper from JACK, hands him a coin, and exits.)

Thanks, mister.

You just made that up.

D A V E Y

J A C K

Did not. I said he heard it right here, and he did.

D A V E Y

My father taught us not to lie.

And mine taught me not to starve.

(LES comes up empty-handed.)

Hey! Just sold my last paper.

I got one more.

Sell it or pay for it.

Give it here.

J A C K

L E S

D A V E Y

J A C K

L E S

(takes the paper, sidles up to a WOMAN passing by, and puts the saddest look on his face)

Buy a pape from a poor orphan boy?

(LES coughs gently.)

W O M A N

Oh, you dear thing Of course I’ll take a newspaper Here’s a dime (The WOMAN exits with her paper.)

J A C K

Born to the breed

This is so much better than school!

L E S

D A V E Y

Don’t even think it When Pop goes back to work, we go back to school (While the boys talk, SNYDER, a sinister looking man, sees JACK and steps back against a building He seems excited to have spotted the boy Cautiously, he flags down a POLICEMAN and whispers to him.)

J A C K

So’s how about we divvy up the money, grab some chow, then find yis somewheres safe to spend the night?

D A V E Y

We gotta get home. Our folks will be waitin’ dinner.

J A C K

Ya got folks, huh?

Doesn’t everyone?

(elbows his brother)

L E S

D A V E Y

Our dad tangled with a delivery truck on the job. Messed his leg up bad, so they laid him off. That’s how come we had to find work.

J A C K

Yeah, sure, that makes sense. Too bad about your dad.

D A V E Y

Why don’t you come home with us for dinner? Our folks would be happy to have you

L E S

Mom’s a great cook

J A C K

Thanks for the invite, but I just remembered I got plans with a fella He’s probably waiting on me right now.

(SNYDER and the POLICEMAN have been slowly moving toward the BOYS. LES spots them and points )

Is that the guy you ’ re meetin’?

(JACK looks up and sees SNYDER )

L E S

S N Y D E R Kelly!

J A C K

(grabbing LES) Run for it!

S N Y D E R

Officer, grab him. You, Jack Kelly, stop! Kelly!

(JACK, DAVEY, and LES leap onto a fire escape ladder and take off The POLICEMAN and SNYDER try to follow. The BOYS climb over the roof and back down the other side, into the flies of a burlesque house.)

S C E N E F O U R : M e d d a ’ s T h e a t e r

Slow down. We lost ’ em.

J A C K

D A V E Y

Someone want to tell me why I’m running? I got no one chasing me. Who was that guy?

J A C K

That was Snyder the Spider A real sweetie He runs a jail for underage kids called The Refuge. The more kids he locks up, the more money the city pays him. Problem is, all the money goes straight into his own pocket. Do yourself a favor and stay clear of him and The Refuge.

(MEDDA LARKIN, a burlesque star, appears in a revealing costume. The STAGE MANAGER and two showgirls, the BOWERY BEAUTIES, get ready for the performance.)

M E D D A

Hey, you up there, shoo! No kids allowed in the theater.

J A C K

Not even me, Miss Medda?

(recognizing the intruder)

M E D D A

Jack Kelly, man of mystery Get yourself down here and give me a hug Where have you been keepin’ yourself, kid?

(JACK, DAVEY, and LES come down to the stage.)

J A C K

Never far from you, Miss Medda Boys, may I present Miss Medda Larkin: greatest star on the Bowery today. She also owns the joint.

M E D D A

The only thing I own is the mortgage. Pleasure, gents.

D A V E Y

A pleasure.

(DAVEY bows gallantly, but LES just stands wide-eyed, staring at the BOWERY BEAUTIES. DAVEY smacks him.)

What’s wrong with you?

Are you blind? She got no clothes on!

L E S

That’s her costume

But I can see her legs!

(to DAVEY)

D A V E Y

L E S

M E D D A

Step out of his way so ’ s he can get a better look. Theater ’ s not only entertaining, it’s educational (posing) Got the picture, kid?

J A C K

Miss Medda, I got a little situation out on the street. Mind if I hide out here a while?

M E D D A

Where better to escape trouble than a theater? Is Snyder after you again?

L E S

Hey Jack, did you really escape jail on the back of Teddy Roosevelt’s carriage?

D A V E Y

What would the Governor be doing at a juvenile jail?

J A C K

So happens he was runnin’ for office and wanted to show he cared about orphans and such. So while he got his mug in the paper, I got my butt in the back seat and off we rode together

L E S

You really know the Governor?

M E D D A

He don’t, but I do! Say, Jack, when you ’ ve got time, I want you to paint me some more of these backdrops.

(indicates a park scene drop behind her)

This last one you did is a doozy. Folks love it. And things have been going so well that I can actually pay

J A C K

I couldn’t take your money, Miss Medda

L E S

You pictured that?

Your friend is quite an artist

M E D D A

J A C K

Don’t get carried away It’s a bunch of trees

D A V E Y

You’re really good

That boy’s got natural aptitude

M E D D A

L E S

Geez I never knew no one with a aptitude

(The STAGE MANAGER calls to her.)

S T A G E M A N A G E R

Miss Medda, you ’ re on!

(strikes a pose)

Yeah? How’m I doin’?

(to the BOYS)

M E D D A

Boys, lock the door and stay all night You’re with Medda now!

S T A G E M A N A G E R

(announcing MEDDA as she moves toward the stage)

Ladies and gentlemen, please welcome the star of our show… Miss Medda Larkin!

(MEDDA is captured in a spotlight. The BOYS watch from the wings, completely entranced, while she performs.)

( M E D D A )

I L I V E I N A M A N S I O N O N L O N G I S L A N D S O U N D

I P U L L E D U P A W E E D , T H E Y F O U N D O I L I N T H E G R O U N D

B U T Y O U T E L L I N G M E Y O U D O N ’ T WA N T M E A R O U N D

N O W H O N E Y, T H AT ’ S R I C H

(to audience member[s])

S O M E G U Y S G I V E M E E R M I N E , C H I N C H I L L A , A N D M I N K

A N D G I V E M E D I A M O N D S A S B I G A S A S I N K

B U T Y O U W O U L D N ’ T G I V E M E A S M U C H A S A W I N K

N O W B A B Y, T H AT ’ S R I C H

I G E T B R A N D Y F R O M A N D Y

A N D C A N D Y F R O M S C O T T

O H , A N D F R A N K A N D E D U A R D O C H I P P E D I N F O R A YA C H T

I G E T S TA R E S F R O M T H E F E L L A S

A N D P R AY E R S F R O M T H E P O P E

B U T I R A N O U T M Y L U C K

G E T T I N G S T U C K W I T H T H I S M O P E

(to audience member)

Oh, honey, I was just talking about you!

(to “him”)

N O W, L I S T E N , S P O RT

T H I S L I F E ’ S TO O S H O RT

TO WA S T E I T O N Y O U

I T M AY B E R O U G H

B U T S O O N E N O U G H

I ’ L L L E A R N TO M A K E D O W I T H

T H E M A N S I O N , T H E O I L W E L L , T H E D I A M O N D S , T H E YA C H T

W I T H A N D Y, E D U A R D O , T H E P O N T I F F, A N D S C O T T

A N D F R A N K

A N D M Y B A N K !

S O S P I L L N O T E A R S F O R M E

‘ C A U S E T H E R E ’ S O N E T H I N G Y O U A I N ’ T

T H AT I ’ L L A LWAY S B E

A N D H O N E Y

Y E A H , T H AT ’ S R I G H T

T H AT ’ S R I C H !

( M E D D A )

(loud, right to “him”)

T H AT ’ S R I C H !

(out to the audience)

T H AT ’ S R I C H !

(spoken)

T H AT ’ S R I C H !

(MEDDA bows. JACK’s eyes are drawn to a box seat out front where KATHERINE sits watching the show The set shifts as he crosses the stage and climbs the stairs )

# 6 A I N e v e r P l a n n e d o n Y o u /

D o n ’ t C o m e a - K n o c k i n g

( M E D D A )

And now, gents, let’s have a big hand for the Bowery Beauties!

(The BOWERY BEAUTIES begin to dance )

(JACK climbs into the box.)

Well, hello again

This is a private box J A C K

(moving closer)

Want I should lock the door?

(moving closer still)

Twice in one day. Think it’s fate?

(dismissive)

Go away. I’m working.

A working girl, huh? Doin’ what?

K A T H E R I N E

J A C K

K A T H E R I N E

Reviewing the show for the New York Sun

J A C K

Hey! I work for the World

K A T H E R I N E

Somewhere out there someone cares Go tell them

J A C K

The view’s better here

K A T H E R I N E

Please go I am not in the habit of speaking to strangers

J A C K

Then you ’ re gonna make a lousy reporter The name ’ s Jack Kelly

K A T H E R I N E

Is that what it says on your rap sheet?

A smart girl I admire smart girls

(admiring KATHERINE)

Beautiful Smart Independent

(getting too loud)

Do you mind!?

J A C K

K A T H E R I N E

M E D D A

(hollering up to JACK and KATHERINE)

You got in for free. At least pay attention.

J A C K

Sorry, Medda.

(KATHERINE returns to watching the show, but JACK only has eyes for her He takes a piece of newsprint and a pencil from his pocket and begins to sketch a portrait of her. The image of the drawing appears in a projection behind them )

( J A C K )

T I L L I F I N D S O M E O N E N E W

B U T I N E V E R P L A N N E D O N N O O N E L I K E Y O U

J A C K

I G O T N O U S E F O R M O O N L I G H T

O R S A P P Y P O E T RY

L O V E AT F I R S T S I G H T ’ S

F O R S U C K E R S

AT L E A S T I T U S E D TO B E

What are you doing?

B O W E R Y B E A U T I E S

D O N ’ T C O M E A - K N O C K I N G O N M Y D O O R

Y O U A R E N ’ T W E L C O M E H E R E N O M O R E

I S H O U L D H AV E K N O W N Y O U S T U N K

L I K E Y E S T E R D AY ’ S T R A S H

T H E N I G H T Y O U S TO L E M Y H E A RT

P L U S F O RT Y D O L L A R S I N C A S H

T U R N S O U T M Y B E A U I S J U S T S O M E B U M

T U R N S O U T T H AT L O V E A I N ’ T B L I N D , I T ’ S D U M B

Y O U N E V E R TO L D T H E T R U T H

O R W O R K E D A D AY I N Y O U R L I F E

I N FA C T, Y O U ’ R E S O R E V O LT I N ’

I F E E L B A D F O R Y O U R W I F E

K A T H E R I N E

B O W E R Y B E A U T I E S

I W O N ’ T B E S H AV I N G Y O U R B A C K A N Y M O R E

N O , S E Ñ O R

Quiet down. There’s a show going on.

J A C K

B O W E R Y B E A U T I E S

D O N ’ T C O M E A - K N O C K I N G O N M Y D O O R !

K A T H E R I N E

You are the most impossible boy

Shhh!

J A C K

K A T H E R I N E (whispers)

Ever.

J A C K

N O , I N E V E R P L A N N E D O N

N O O N E L I K E Y O U

B O W E R Y B E A U T I E S

D O N ’ T C O M E A - K N O C K I N G

O N M Y D O O R !

(JACK places the newsprint on the empty chair as he exits. KATHERINE looks at it and sees the portrait of herself, beautifully rendered We can almost see her blush ) #

S C E N E F I V E : N e w s i e S q u a r e , N e x t M o r n i n g

(A few NEWSIES convene outside the distribution window of the World as the circulation bell tolls.)

R A C E

Them fire sirens kept me awake all night.

M U S H

Sirens is like lullabyes to me. The louder they wail the better the headline. And the better the headline, the better I eat And the better I eat

R A C E

(cutting him off)

… the further away from you I sleep!

(LES and DAVEY arrive.)

D A V E Y

’Morning, everybody. Sorry we ’ re late. We had to help our mom with something.

R A C E

They got a mudder? I was gonna get me one.

R O M E O

What’d you do with the one you had?

B U T T O N S

He traded her for a box of cigars.

They was Coronas!

We have a father too.

R A C E

B

A mudder and a fodder. R A C E

Ain’t we the hoi polloi?

So, how’s it going today?

T O M M Y B O Y

Ask me after they put up the headline.

(LES looks up to read it.)

Here it comes now

(reading)

A L B E R T

“New Newsie Price: Sixty Cents Per Hundred.”

U S H

What’d you say?

(The NEWSIES begin to take notice.)

Is that news?

It is to me.

A L B E R T

They jacked up the price of papes. Ten cents more a hundred!

L M E R

I can eat two days on a dime.

I’ll be sleepin’ on the street.

You already sleep on the street.

In a worse neighborhood.

(JACK arrives.)

What’re you all standin’ around for?

C R U T C H I

J O J O

R

Get a load of this, Jack

J A C K

C R U T C H I E

R O M E O

Like Pulitzer don’t make enough already?

(WIESEL opens his window for business. He stares at the NEWSIES with a malevolent smile.)

W I E S E L

Papes for the newsies.

Relax It’s gotta be a gag

J A C K

W I E S E L

Line up, boys (JACK goes up to the window and slaps his money down.)

J A C K

Good joke, Weasel Really got the fellas goin’ I’ll take a hundred and be on my way.

W I E S E L

A hundred’ll cost ya sixty.

I ain’t payin’ no sixty

Then make way for someone who will.

J A C K

W I E S E L

(SPECS and a few more NEWSIES arrive )

J A C K

You bet! Me and the fellas will take a hike over to the Journal.

N E W S I E S YEAH!!!

S P E C S

I’ll save you the walk. They upped their price too.

J A C K

Then we’ll take our business to the Sun!

W I E S E L

It’s the same all around town. New day. New price.

J A C K

Why the jack-up?

W I E S E L

For them kind’a answers you gotta ask a little further up the food chain. So, you buyin’ or movin’ on?

J A C K

C’mere fellas

(The NEWSIES huddle together as a gang.)

They can’t just do that, can they?

Why not? It’s their paper

It’s their world

Ain’t we got no rights?

F I N C H

R A C E

C R U T C H I E

H E N R Y

C R U T C H I E

We got the right to starve C’mon, let’s get our papes and hit the streets while we still can.

H E N R Y

At them prices?

We got a choice?

C R U T C H I E

J A C K

Hold on. Nobody’s payin’ no new nothin’.

T O M M Y B O Y

You got a idea?

J A C K

Keep your shirt on. Lemme think this through.

B U T T O N S

What’s your angle?

(LES pushes the other boys away.)

L E S

Stop crowdin’ him. Let the man work it out.

(The NEWSIES back up and watch JACK think )

Hey, Jack, you still thinkin’?

Sure he is. Can’t you smell smoke?

R A C E

J A C K

All right, here’s the deal: if we don’t sell papes, then no one sells papes. Nobody gets to that window till they put the price back where it belongs

D A V E Y

You mean like a strike?

You heard Davey We’re on strike

Hold on I didn’t say

J A C K

D A V E Y

J A C K

We shut down this place like them workers shut down the trolleys

F I N C H

And the cops will bust our heads! Half them strikers is laid up with broke bones

J A C K

Cops ain’t gonna care about a bunch of kids Right, Davey?

D A V E Y

Leave me out of this I’m just here trying to feed my family

J A C K

And the rest of us is on playtime? Just because we only make pennies don’t give nobody the right to rub our noses in it.

D A V E Y

It doesn’t matter. You can’t strike. You’re not a union.

J A C K

And what if I says we is?

D A V E Y

There’s a lot of stuff you gotta have in order to be a union. Like membership.

J A C K

What do you call these guys?

And officers.

I nominate Jack President!

D A V E Y

C R U T C H I E

(The NEWSIES cheer their approvals.)

J A C K

Gee, I’m touched.

How about a statement of purpose?

Must’a left it in my other pants.

D A V E Y

J A C K

What’s a statement of purpose?

A reason for forming the union

R A C E

D A V E Y

J A C K

What reason did the trolley workers have?

D A V E Y

I don’t know Wages? Work hours? Safety on the job?

J A C K

Who don’t need that? Bet if your father had a union you wouldn’t be out here sellin’ papes right now. Yeah? D A V E Y

Yeah.

J A C K

So, our union is hereby formed to watch each other ’ s backs. “Union’d we stand.” Hey, that’s not bad. Somebody write that down.

I got a pencil.

Meet our Secretary of State. Now what?

A C K

D A V E Y

If you want to strike, the membership’s gotta vote.

So let’s vote. What do you say, fellas? The choice is yours. Do we roll over and let Pulitzer pick our pockets, or do we strike?

R A C E

It would be a pleasure to tell Weasel myself

J A C K

Yeah? And who tells Pulitzer? Davey?

D A V E Y

I don’t know I guess (giving in)

You do, Mr President

J A C K (to DAVEY)

That’s right, we do! What do we tell ’em?

D A V E Y

The newspaper owners need to respect your rights as employees.

J A C K

Pulitzer and Hearst gotta respect the rights of the workin’ kids of this city.

D A V E Y

They can’t just change the rules when they feel like it.

J A C K

That’s right. We do the work so we get a say.

D A V E Y

(finally committing)

We’ve got a union. L E S Yeah!

J A C K

O

D A V E Y

They need to understand that we ’ re not enslaved to them. We’re free agents.

J A C K

N O !

N E W S I E S

D A V E Y

We’re a union now – the Newsboys’ Union – and we mean business

J A C K

E V E N T H O U G H W E A I N ’ T G O T H AT S O R B A D G E S

W E ’ R E A U N I O N J U S T B Y S AY I N G S O

A N D T H E W O R L D W I L L K N O W

F I N C H

What’s to stop some other kids comin’ along to sell our papes?

A L B E R T

Just let ’ em try!

D A V E Y

No! We can’t beat up on other kids We’re all in this together

J A C K

(ignoring DAVEY)

W H AT ’ S I T G O N N A TA K E TO S TO P T H E WA G O N S ?

A R E W E R E A D Y ?

N E W S I E S

Y E A H ! J A C K

W H AT ’ S I T G O N N A TA K E TO S TO P T H E S C A B B E R S ? C A N W E D O I T ?

N E W S I E S

Y E A H ! J A C K

W E ’ L L D O W H AT W E G O T TA D O U N T I L

W E B R E A K T H E W I L L

O F M I G H T Y B I L L

A N D J O E

N E W S I E S

A N D T H E W O R L D W I L L K N O W

A N D T H E J O U R N A L TO O

J A C K , D A V E Y

M I S T E R H E A R S T A N D P U L I T Z E R

H AV E W E G O T N E W S F O R Y O U

N E W S I E S

S E E , T H E W O R L D D O N ’ T K N O W

B U T T H E Y ’ R E G O N N A PAY

J A C K , D A V E Y

’ S T E A D O F H AW K I N ’ H E A D L I N E S

W E ’ L L B E M A K I N ’ ’ E M TO D AY

N E W S I E S

A N D O U R R A N K S W I L L G R O W !

C R U T C H I E

A N D W E ’ L L K I C K T H E I R R E A R !

N E W S I E S

Y E A H !

A N D T H E W O R L D W I L L K N O W

T H AT W E B E E N H E R E

J A C K

W H E N T H E C I R C U L AT I O N B E L L S TA RT S R I N G I N G

W I L L W E H E A R I T ?

N O !

N E W S I E S

J A C K

W H AT I F T H E D E L A N C E Y S C O M E O U T S W I N G I N G ?

W I L L W E H E A R I T ?

N O !

N E W S I E S

W H E N YA G O T A H U N D R E D V O I C E S S I N G I N G

W H O C A N H E A R A L O U S Y W H I S T L E B L O W ?

A N D T H E W O R L D W I L L K N O W

T H AT T H I S A I N ’ T N O G A M E

T H AT W E G O T A TO N O F R O T T E N F R U I T

A N D P E R F E C T A I M

S O T H E Y G AV E T H E I R W O R D

W E L L , I T A I N ’ T W O RT H B E A N S

N O W T H E Y ’ R E G O N N A S E E W H AT

“ S TO P T H E P R E S S E S ” R E A L LY M E A N S

A N D T H E O L D W I L L W E E P

A N D G O B A C K TO S L E E P

( N E W S I E S )

A N D W E G O T N O C H O I C E

B U T TO S E E I T T H R O U G H

R A C E

A N D W E F O U N D O U R V O I C E

S P E C S

A N D I L O S T M Y S H O E

N E W S I E S

A N D T H E W O R L D W I L L

(The scene transitions to the gate JACK climbs up to the chalkboard and writes “STRIKE” over the other headlines.)

N E W S I E S

Yeah!

J A C K

P U L I T Z E R M AY O W N T H E W O R L D B U T H E D O N ’ T O W N U S !

N E W S I E S

P U L I T Z E R M AY O W N T H E W O R L D B U T H E D O N ’ T O W N U S !

J A C K

P U L I T Z E R M AY

R A C K T H E W H I P B U T H E W O N ’ T W H I P U S !

E W S I E S P U L I T

(The NEWSIES make their way to the front door of the World.)

R

N E W S I E S G R O U P 1

A N D A R O A R W I L L R I S E

N E W S I E S G R O U P 2

F R O M T H E S T R E E T S B E L O W

…

N E W S I E S G R O U P 1

A N D O U R R A N K S W I L L G R O W …

N E W S I E S G R O U P 2

A N D G R O W

A N D G R O W

A N D S O

N E W S I E S G R O U P 1

N E W S I E S

T H E W O R L D W I L L F E E L T H E F I R E

A N D F I N ’ L LY K N O W !

(The NEWSIES open the doors JACK, DAVEY, and LES enter and the doors close behind them. The NEWSIES wait in anticipation. Then the doors fly open and a GUARD throws JACK, DAVEY, and LES out onto their butts )

And stay out!

(yelling back)

You can tell Pulitzer that a few days into this strike, he’s gonna be beggin’ for an appointment to see me! You got that?

(The doors slam shut.)

He got it

N E W S I E S

S O T H E W O R L D S AY S “ N O ! ”

W E L L , T H E K I D S D O , TO O !

T RY TO WA L K A L L O V E R U S

W E ’ L L S TO M P A L L O V E R Y O U

C R U T C H I E

C A N T H E Y K I C K U S O U T ?

TA K E AWAY O U R V O T E ?

N E W S I E S

W I L L W E L E T ’ E M S T U F F T H I S C R O C K O F G A R B A G E

D O W N O U R T H R O AT ?

N O !

E V ’ RY D AY W E WA I T

I S A D AY W E L O S E !

(The NEWSIES make their way to Jacobi’s Deli.)

N E W S I E S G R O U P 1

A N D T H I S A I N ’ T F O R F U N !

N E W S I E S G R O U P 2

A N D I T A I N ’ T F O R S H O W !

N E W S I E S G R O U P 1

A N D W E ’ L L F I G H T ’ E M TO E

N E W S I E S G R O U P 2

TO TO E !

TO TO E

A N D J O E

N E W S I E S G R O U P 1

N E W S I E S

Y O U R W O R L D W I L L F E E L T H E F I R E

A N D F I N ’ L LY

F I N ’ L LY K N O W !

S C E N E S I X : J a c o b i ’ s D e l i & S t r e e t , A f t e r n o o n

(The NEWSIES settle in at their favorite hangout. The proprietor, MR. JACOBI, arrives with a tray of glasses, which he proceeds to hand out.)

M R . J A C O B I

And here we go… A glass of water for you. And one for you. And one for you.

And you And, ah, who’s the big spender what ordered seltzer?

A L B E R T

Over here

And that’ll be two cents

M R . J A C O B I

A L B E R T

Two cents for a glass of seltzer? Just gimme water

M R . J A C O B I (switching out glasses)

How did I ever see that coming?

(toasting)

D A V E Y

I’d say we launched our strike in a most auspicious manner.

(The NEWSIES try to figure out what DAVEY said )

M U S H

I don’t know about that, but we sure scared the bejeebers outta Weasel!

C R U T C H I E

Did you see the Delanceys? They didn’t know which way was up.

J A C K

(to DAVEY)

So, what’s next?

D A V E Y

Now you have to spread the word. Let the rest of the city’s newsies know about the strike.

J A C K

You heard the man. Let’s split up and spread the word.

M U S H

I’ll take Harlem.

I got midtown

I got the Bronx

And I got the Bowery

R A C E

J O J O

B U T T O N S

J A C K

Specs, you take Queens Tommy Boy, you take the Eastside And who wants Brooklyn?

(The NEWSIES cringe and look away.)

C’mon. Brooklyn. Spot Conlon’s turf. Finch, you tellin’ me you ’ re scared of Brooklyn?

F I N C H

I ain’t scared of no turf But that Spot Conlon gets me a little jittery

J A C K

Me and Davey will take Brooklyn

(still struggling)

Me? I have to…

(KATHERINE enters.)

D A V E Y

K A T H E R I N E

Why’s everyone so scared of Brooklyn?

J A C K

(smiling)

What’re you doin’ here?

K A T H E R I N E

Asking a question. Have you got an answer?

J A C K

Brooklyn is the sixth largest city in the entire world. You got Brooklyn, you hit the motherlode

(sidling up to KATHERINE)

For someone who works for the New York Sun, you spend an awful lot of time hanging around at the World. So, what’s that about? You followin’ me?

K

A T H E R I N E

The only thing I’m following is a story A rag-tag gang of ragamuffins wants to take on the kingmakers of New York. Think you have a chance?

J A C K

Shouldn’t you be at the ballet?

K A T H E R I N E

Question too difficult? I’ll rephrase: will the richest and most powerful men in New York give the time of day to a gang of kids who haven’t got a nickel to their name?

C R U T C H I E

You don’t gotta be insultin’. I got a nickel.

K A T H E R I N E

So I guess you’d say you ’ re a couple of Davids looking to take on Goliath?

D A V E Y

We never said that.

You didn’t have to. I did.

K A T H E R I N E

J

A C K

I seen a lot of papes in my time and I ain’t never noted no girl reporters writing hard news.

K A T H E R I N E

Wake up to the new century. The game ’ s changing. How about an exclusive interview?

J

A C K

Ain’t your beat entertainment?

This is entertaining… so far.

K

A T H E R I N E

J

A C K

What’s the last news story you wrote?

K A T H E R I N E

What’s the last strike you organized?

R O M E O

(pushing his way in)

You’re out of your league, Kelly. Methinks the lady needs to be handled by a real man

(waving him off)

You thinks wrong, Romeo.

How’d she know my name?

(to JACK)

K A T H E R I N E

R O M E O

D A V E Y

I say we save any exclusive for a real reporter.

K A T H E R I N E

You see somebody else giving you the time of day?

(desperate)

All right, so I’m just busting out of the social pages. But you give me the exclusive, let me run with the story, and I promise I’ll get you the space

C R U T C H I E

You really think we could be in the papes?

K A T H E R I N E

Shut down a paper like the World and you ’ re going to make the front page

J A C K

You want a story? Be in front of the circulation gate tomorrow morning and you’ll get one. And bring a camera. You’re gonna wanna snap a picture of dis.

(MR JACOBI comes to shoo the NEWSIES out )

M R . J A C O B I

Let’s go, boys, play outside. I gotta set up for dinner. I got payin’ customers need the tables

C’mon We got newsies to visit

You won’t be shooin’ us off when we gets our mugs in the papes!

(The NEWSIES exit the deli and head to the street.)

( N E W S I E S )

E I T H E R T H E Y G I V E S U S O U R R I G H T S

O R W E G I V E S T H E M A WA R

W E B E E N D O W N TO O L O N G

A N D W E PA I D O U R D U E S

A N D T H E T H I N G S W E D O TO D AY

W I L L B E TO M O R R O W ’ S N E W S

A N D T H E D I E I S C A S T

A N D T H E TO R C H I S PA S S E D

N E W S I E S G R O U P 1

A N D A R O A R W I L L R I S E

N E W S I E S G R O U P 2

… F R O M T H E S T R E E T S B E L O W

N E W S I E S G R O U P 1

A N D O U R R A N K S W I L L G R O W …

N E W S I E S G R O U P 2

A N D G R O W

A N D G R O W

A N D S O

N E W S I E S G R O U P 1

N E W S I E S

T H E W O R L D W I L L F E E L T H E F I R E

A N D F I N ’ L LY K N O W !

Come on, Les The folks are waiting

A V E Y

(The NEWSIES disperse as DAVEY and LES head home. JACK lingers behind with KATHERINE )

K A T H E R I N E

So, what’s your story? Are you selling newspapers to work your way through art school?

J A C K

Art school? You kiddin’ me?

(KATHERINE holds up the drawing that JACK did of her.)

K A T H E R I N E

But you ’ re an artist You’ve got real talent You should be inside the paper illustrating, not outside hawking it.

J A C K

Maybe that ain’t what I want

So tell me what you want

(shamelessly flirting)

Can’t you see it in my eyes?

Have you always been their leader?

K A T H E R I N E

J A C K

K A T H E R I N E

J A C K

I’m a blowhard. Davey’s the brains.

K A T H E R I N E

Modesty is not a quality I would have pinned on you.

J A C K

You got a name?

Katherine… Plumber.

What’s the matter? Ain’t ya sure?

K A T H E R I N E

J A C K

K A T H E R I N E

It’s my byline, the name I publish under. Tell me about tomorrow. What are you hoping for?

J A C K

I’d rather tell you what I’m hoping for tonight

K A T H E R I N E

Mr Kelly

J A C K

Today we stopped our newsies from carrying out papes, but the wagons still delivered to the rest of the city. Tomorrow, we stop the wagons.

K A T H E R I N E

Are you scared?

J A C K

Do I look scared? But ask me again in the morning.

K A T H E R I N E

(writes down the quote and starts to exit)

Good answer. Good night, Mr. Kelly.

J A C K

Come on, where you runnin’? It ain’t even supper time!

# 9 W a t c h W h a t H a p p e n s

K A T H E R I N E

I’ll see you in the morning. And, off the record, good luck.

J A C K

Hey, Plumber. Write it good. We both got a lot ridin’ on you.

(JACK walks off as KATHERINE heads to her office )

S C E N E S E V E N : K a t h e r i n e ’ s O f f i c e

(KATHERINE sits down at her desk and begins to write her article.)

K A T H E R I N E

You heard the man, “Write it good ” Write it good, or it’s back to wheezing your way through the flower show. No pressure. Let’s go.

(typing)

“Newsies Stop the World. ” A little hyperbole never hurt anyone.

(typing again)

“With all eyes fixed on the trolley strike, there’s another battle brewing in the city…”

(pulls the paper out of the typewriter and rips it up)

… and if I could just write about it…

(puts a fresh piece of paper in the typewriter)

Come on, Katherine, the boys are counting on you Oh, you poor boys

E

T I O N E D I H AV E N O C L U E W H AT I ’ M D O I N G

A M I I N S A N E ?

T H I S I S W H AT I ’ V E B E E N WA I T I N G F O R ! W E L L , T H AT, P L U S T H E S C R E A M I N G O F T E N A N G RY E D I TO R S :

“ A G I R L ? ”

“ T H AT ’ S A G I R L ! ! H O W T H E H E L L ”

“ I S T H AT E V E N L E G A L ? ”

“ L O O K , J U S T G O A N D G E T H E R ”

N O T O N LY T H AT, T H E R E ’ S T H E S TO RY B E H I N D T H E S TO RY:

T H O U S A N D S O F C H I L D R E N E X P L O I T E D , I N V I S I B L E , S P E A K U P

TA K E A S TA N D , A N D T H E R E ’ S S O M E O N E TO W R I T E A B O U T I T

T H AT ’ S H O W T H I N G S G E T B E T T E R

( K A T H E R I N E )

G I V E L I F E ’ S L I T T L E G U Y S S O M E I N K

A N D W H E N I T D R I E S

J U S T WAT C H W H AT H A P P E N S !

T H O S E K I D S W I L L L I V E A N D B R E AT H E

R I G H T O N T H E PA G E

A N D O N C E T H E Y ’ R E C E N T E R S TA G E

Y O U WAT C H W H AT H A P P E N S !

A N D W H O ’ S T H E R E W I T H H E R C A M ’ R A A N D H E R P E N

A S B O Y S T U R N I N TO M E N ?

T H E Y ’ L L S TO R M T H E G AT E S A N D T H E N

J U S T WAT C H W H AT H A P P E N S W H E N T H E Y D O !

(reads aloud what she’s written)

“A modern day David is poised to take on the rich and powerful Goliath. With the swagger of one twice his age, armed with nothing more than a few nuggets of truth, Jack Kelly stands ready to face the behemoth Pulitzer.” Now that’s how you turn a boy into a legend!

P I C T U R E A H A N D S O M E , H E R O I C ’ LY C H A R I S M AT I C P L A I N S P O K E N , K N O W- N O T H I N G , S K I RT- C H A S

F T H E S T R I K E W H AT A FA C E ! FA C E T H E FA C T:

T H AT ’ S A FA C E T H AT C O U L D S AV E U S A L L F R O M S I N K I N G I N T H E O C E A N

L I K E S O M E O N E S A I D , “ P O W E R T E N D S TO C O R R U P T A N D A B S O L U T E P O W E R . . . ” WA I T ! WA I T !

“ C O R R U P T S A B S O L U T E LY ”

T H AT I S G E N I U S ! B U T G I V E M E S O M E T I M E

I ’ L L B E T W I C E A S G O O D A S T H AT S I X M O N T H S F R O M N E V E R

J U S T L O O K A R O U N D

AT T H E W O R L D W E ’ R E I N H E R I T I N G

A N D T H I N K O F T H E O N E W E ’ L L C R E AT E

T H E I R M I S TA K E I S T H E Y G O T O L D

T H AT I S N O T A M I S TA K E W E ’ L L B E M A K I N G

N O , S I R , W E ’ L L S TAY Y O U N G F O R E V E R !

( K A T H E R I N E )

G I V E T H O S E K I D S A N D M E

T H E B R A N D N E W C E N T U RY

A N D WAT C H W H AT H A P P E N S !

I T ’ S D AV I D A N D G O L I AT H

D O O R D I E

T H E F I G H T I S O N A N D I

C A N ’ T WAT C H W H AT H A P P E N S

B U T A L L I K N O W I S N O T H I N G H A P P E N S I F Y O U J U S T G I V E I N

I T C A N ’ T B E A N Y W O R S E T H A N H O W I T ’ S B E E N

A N D I T J U S T S O H A P P E N S T H AT W E J U S T M I G H T W I N

S O W H AT E V E R H A P P E N S

L E T ’ S B E G I N !

(Blackout.)

# 9 A W a t c h W h a t H a p p e n s ( P l a y o f f )

S C E N E E I G H T : N e w s i e S q u a r e , N e x t M o r n i n g

(JACK and other NEWSIES nervously begin to assemble. As DAVEY and LES arrive, DAVEY pulls JACK aside.)

D A V E Y

Is anyone else coming?

Don’t got a clue.

J A C K

R A C E

Youse seen Spot Conlon, right? What’d he say?

J A C K

Sure we seen him.

Him and about twenty of his gang.

And them Brooklyn boys is big.

D A V E Y

L E S

J A C K

And I gotta say, Spot was very impressed. Wasn’t he?

D A V E Y

I’d say.

So they’re with us?

R A C E

D A V E Y

That all depends on how you look at it. If you look and see Brooklyn, then they’re with us

J A C K

They wanted proof we ’ re not gonna fold at the first sign of trouble

F I N C H Are we?

J A C K

We are not! There’s us and Harlem

M U S H

Not so fast, boss Harlem wants to know what Brooklyn’s gonna do

J A C K

How about Queens?

S P E C S

Queens will be right here backing us up

J A C K

Ya see!

S P E C S

as soon as they get the nod from Brooklyn

R A C E

I got the same fish-eye in midtown

(The DELANCEYS walk by on their way to work.)

M O R R I S

Say, Oscar, looks like we got bum information about a strike happenin’ here today

Not that I’m complainin’. My skull bustin’ arm could use a day of rest.

(The DELANCEYS move on )

Are we doing the right thing?

Sure we are.

Maybe we put this off a couple days?

No. We can’t… (desperately to JACK)

L E S

D A V E Y

R A C E

D A V E Y

Say something. Tell them if we back off now they will never listen to us again.

# 1 0 S e i z e t h e D a y

J A C K

(to the NEWSIES)

We can’t back down now. No matter who does or doesn’t show. Like it or not, now is when we take a stand.

F I N C H

How’s about we just don’t show for work? That’ll send a message.

J A C K

They’ll just replace us. They need to see us stand our ground.

( J A C K )

(turns helplessly to DAVEY)

C’mon, Davey. Tell ’ em.

(on the spot, timidly begins a pep talk)

D A V E Y

N O W I S T H E T I M E TO S E I Z E T H E D AY

S TA R E D O W N T H E O D D S A N D S E I Z E T H E D AY

M I N U T E B Y M I N U T E

T H AT ’ S H O W Y O U W I N I T

W E W I L L F I N D A WAY

B U T L E T U S S E I Z E T H E D AY

(CRUTCHIE arrives with a rag painted “STRIKE!” hanging from his crutch.)

C R U T C H I E

Hey, Jack Look what I made! Good, huh? Strike!

R A C E

(to CRUTCHIE)

That’s great

(to DAVEY)

That’s pitiful

L E S

Don’t be so quick to judge Maybe Pulitzer will see it out his window and feel sorry for us.

J A C K

(calls up to the chalkboard platform)

Hey, Specs, any sign of reinforcements?

(SPECS gives a thumbs down.)

Davey…?

D A V E Y

C O U R A G E C A N N O T E R A S E O U R F E A R

C O U R A G E I S W H E N W E FA C E O U R F E A R

T E L L T H O S E W I T H P O W E R

S A F E I N T H E I R TO W E R

W E W I L L N O T O B E Y

(DAVEY steps up next to JACK as the scene shifts to the distribution window.)

D A V E Y , J A C K

B E H O L D T H E B R AV E B AT TA L I O N

T H AT S TA N D S S I D E B Y S I D E

TO O F E W I N N U M B E R

A N D TO O P R O U D TO H I D E

T H E N S AY TO T H E O T H E R S

W H O D I D N O T F O L L O W T H R O U G H

“ Y O U ’ R E S T I L L O U R B R O T H E R S

A N D W E W I L L F I G H T F O R Y O U ”

(The circulation bell rings. The NEWSIES ignore it.)

D A V E Y , R A C E , J A C K , C R U T C H I E

N O W I S T H E T I M E TO S E I Z E T H E D AY

S TA R E D O W N T H E O D D S A N D S E I Z E T H E D AY

(Other NEWSIES gradually join in until all are singing.)

N E W S I E S

O N C E W E ’ V E B E G U N

I F W E S TA N D A S O N E

S O M E D AY B E C O M E S S O M E H O W A N D A P R AY E R B E C O M E S A V O W

A C K A N D T H E S T R I K E S TA RT S R I G H T D A M N N O W !

(The circulation bell rings again. WIESEL pushes his window open.)

The sun is up and the birds is singin’. A beautiful day to crack some heads, ain’t it?

Step right up and get your papes

(stepping forward)

M O R R I S

You workin’ or trespassin’? What’s your pleasure?

(EVERYONE tenses. Three SCABS walk on and head toward the circulation window to collect their papers.)

D A V E Y

Who are they?

Scabs. Who do you think?

J A C K

F I N C H

If they think they can just waltz in here and take our jobs

C R U T C H I E

We can handle them!

(The NEWSIES move menacingly forward as the SCABS collect their papers from the distribution window.)

R O M E O

Let’s soak ’ em, boys!

Yeah! Let’s get ’em!

F I N C H

D A V E Y

No! We all stand together or we don’t have a chance!

(calling for help)

Jack!

All right. I know. I hear ya.

J A C K

(looks to his NEWSIES, then addresses the SCABS)

Listen, fellas… I know somebody put yis up to this. Probably paid ya some extra money too Yeah? Well, it ain’t right Pulitzer thinks we ’ re gutter rats with no respect for nothin’, includin’ each other. Is that who we are? Well, we stab each other in the back and, yeah, that’s who we are But if we stand together, we change the whole game. And it ain’t just about us. All across this city there are boys and girls who ought to be out playin’ or going to school Instead they’re slavin’ to support themselves and their folks. Ain’t no crime to bein’ poor, and not a one of us complains if the work we do is hard. All we ask is a square deal. Fellas… for the sake of all the kids in every sweatshop, factory, and slaughter house in this town, I beg you… throw down your papers and join the strike.

E S

Please?

(The SCABS look at each other, and the first steps forward.)

S C A B 1

I’m with ya.

(The first SCAB throws down his papers. The NEWSIES surround the two remaining SCABS.)

D A V E Y

N O W I S T H E T I M E TO S E I Z E T H E D AY !

N E W S I E S

N O W I S T H E T I M E TO S E I Z E T H E D AY !

D A V E Y

A N S W E R T H E C A L L A N D D O N ’ T D E L AY !

N E W S I E S

A N S W E R T H E C A L L A N D D O N ’ T D E L AY !

W R O N G S W I L L B E R I G H T E D

I F W E ’ R E U N I T E D !

L E T U S S E I Z E T H E D AY !

(The second SCAB throws down his papers and joins the NEWSIES. MORRIS DELANCEY reaches for the bundle, but JACK stops him.)

S C A B 3

You’re kidding, right?

S C A B 2

At the end of the day who are you gonna trust?

(refers to the DELANCEYS then the NEWSIES)

Them… or them?

(The second SCAB throws his satchel back at WIESEL as the NEWSIES surround the remaining SCAB.)

J A C K

J A C K

R

W E ’ L L S L AY T H E G I A N T

J U D G M E N T D AY I S H E R E !

(The third SCAB throws down his papers.)

S C A B 3

Oh what the hell? Me father ’ s gonna kill me anyway!

(The NEWSIES cheer.)

N E W S I E S

H O U S TO N TO H A R L E M

L O O K W H AT ’ S B E G U N !

O N E F O R A L L A N D A L L F O R O N E !

S T R I K E ! S T R I K E ! S T R I K E ! S T R I K E ! S T R I K E !

S T R I K E ! S T R I K E ! S T R I K E ! S T R I K E ! S T R I K E ! O H S T R I K E !

(JACK leads the NEWSIES in a triumphant dance. The DELANCEYS break in, punch DAVEY and JACK, and grab LES. The rest of the NEWSIES save LES, chase them off and celebrate.)

N O W I S T H E T I M E TO S E I Z E T H E D AY !

T H E Y ’ R E G O N N A S E E T H E R E ’ S H E L L TO PAY !

N O T H I N G C A N B R E A K U S

N O O N E C A N M A K E U S

Q U I T B E F O R E W E ’ R E D O N E !

O N E F O R A L L A N D A L L F O R

O N E F O R A L L A N D A L L F O R

O N E F O R A L L A N D A L L F O R O N E !

(KATHERINE arrives with her CAMERAMAN, who shoots a triumphant photo of JACK, DAVEY, LES, and the NEWSIES. The ecstatic NEWSIES toss newspapers all over the square )

S E C O N D TO N O N E

O N E F O R A L L A N D A L L F O R

O N E F O R A L L A N D A L L F O R …

(The gates swing open to reveal WIESEL, the DELANCEYS, and several GOONS. The NEWSIES stop dead in their tracks.)

W I E S E L

Time these kids learned a lesson

(The MEN advance.)

Newsies! Get ‘em!

J A C K

(The NEWSIES run to the wagons and toss bundles of papers at the MEN. The MEN surge forward and the fight is more or less even Suddenly a POLICEMAN appears and blows his whistle. ROMEO runs excitedly to him.)

R O M E O

It’s about time you showed up They’re slaughtering us

(The POLICEMAN smacks ROMEO to the ground. SNYDER appears.)

J A C K

Cheese it, fellas! It’s the bulls!

(As more POLICEMEN arrive, many NEWSIES take flight. Some are hit, others are snatched up and taken away The NEWSIES are helpless against the MEN SNYDER appears.)

S N Y D E R

You can’t run forever, Kelly!!!

(JACK sees SNYDER and starts to make his escape.)

C R U T C H I E

Jack? Wait for me!

(JACK reaches back for CRUTCHIE, but he is grabbed by OSCAR and MORRIS DELANCEY. JACK continues to run.)

O S C A R

(to CRUTCHIE)

Where ya think you ’ re goin’?

Jack! Help! Romeo! Finch!

C R U T C H I E

M O R R I S

Shut it, Crip.

(MORRIS punches CRUTCHIE, knocking him to the ground SNYDER beats him with his crutch and slaps on handcuffs.)

S N Y D E R

It’s off to The Refuge with you, little man

(to the POLICEMAN)

Take him away

(JACK watches as the POLICEMAN drags CRUTCHIE off.)

J A C K

Crutchie!

Jack Kelly!

S N Y D E R

(JACK ducks out of the square and runs to the safety of his rooftop.)

S C E N E N I N E : R o o f t o p

(Papers flutter down on the emptying square under a haunting moon. Lost in the wreckage of the failed protest below, JACK paces, desolate.)

( J A C K )

B R E A K I N ’ Y O U R B A C K F O R S O M E O N E E L S E ’ S S A K E ?

I F T H E L I F E D O N ’ T S E E M TO S U I T YA

H O W ’ B O U T A C H A N G E O F S C E N E ?

FA R F R O M T H E L O U S Y H E A D L I N E S

A N D T H E D E A D L I N E S I N B E T W E E N !

S A N TA F E !

M Y O L D F R I E N D

I C A N ’ T S P E N D M Y W H O L E L I F E D R E A M I N ’

T H O U G H I K N O W T H AT ’ S A L L I S E E M I N C L I N E D TO D O

I A I N ’ T G E T T I N ’ A N Y Y O U N G E R

A N D I WA N N A S TA RT B R A N D N E W

I N E E D S PA C E

A N D F R E S H A I R

L E T ’ E M L A U G H I N M Y FA C E

I D O N ’ T C A R E

S AV E M Y P L A C E

I ’ L L B E T H E R E . . .

J U S T B E R E A L I S A L L I ’ M A S K I N ’

N O T S O M E PA I N T I N ’ I N M Y H E A D

’ C A U S E I ’ M D E A D I F I C A N ’ T C O U N T O N Y O U TO D AY

I G O T N O T H I N ’ I F I A I N ’ T G O T S A N TA F E !

(End of Act One.)

A C T T W O

S C E N E O N E : J a c o b i ’ s D e l i , N e x t M o r n i n g

# 1 2 A E n t r ’ a c t e

(DAVEY and the NEWSIES are quietly ignoring their drinks. MR. JACOBI enters.)

M R . J A C O B I

Drink up, boys. And don’t never say I don’t give you nothing. And before you say water is nothing, just ask a fish in the desert

(MR. JACOBI exits.)

Why do old people talk?

F I N C H

R A C E

To prove they’s still alive (KATHERINE arrives with a newspaper.)

K A T H E R I N E

Good morning, gentlemen Would you get a load of these glum mugs? Can these really be the same boys who made front page of the New York Sun?

R O M E O

Front page of what?

(The NEWSIES rush towards KATHERINE and snatch the paper )

R A C E

Lemme see. Lookit! Would you lookit? Dat’s me!

J O J O

Front page and you ain’t even dead.

Where’s me? Where’s me?

R O M E O

B U T T O N S

Wait till my old man gets a load of dis. I won’t be last in line for the tub tonight.

D A V E Y

(to KATHERINE)

You got us in the pape?

You got yourselves in the pape

K A T H E R I N E

M U S H

“Newsies Stop the World” now, there’s a headline even Elmer could sell!

S P E C S

What else do you got?

K A T H E R I N E

Mine’s the only story that ran Pulitzer declared a blackout on strike news, so even I’m shut down now. I heard they arrested Crutchie. Did they get Jack too?

A L B E R T

The Delanceys are spreading a story that he took it on the lam, first sight of the cops.

L E S

(charges ALBERT)

Jack don’t run from no fight!

A L B E R T

Take it down, short-stop I’m just reportin’ the news

R A C E

For jumpin’ Jack’s sake Can you stow the seriosity long enough to drink in the moment? I’m famous!

H E N R Y

What of it?

R A C E

Are you stupid or what? You’re famous, the world is your erster.

H E N R Y

Your what?

R A C E

Your erster! Your erster! Your fancy clam with a pearl inside.

H E N R Y

How much does bein’ famous pay?

R A C E

Ya don’t need money when you ’ re famous. They gives ya whatever ya want gratis!

H E N R Y

Such as…?

# 1 3 K i n g o f N e w Y o r k D a v e y, K a t h e r i n e , L e s , N e w s i e s

R A C E

A PA I R O F N E W S H O E S W I T H M AT C H I N ’ L A C E S

R O M E O

A P E R M A N E N T B O X AT T H E S H E E P S H E A D R A C E S …

H E N R Y

PA S T R A M I O N RY E W I T H A S O U R P I C K L E …

F I N C H

M Y P E R S O N A L P U S S O N A W O O D E N N I C K E L

R A C E

L O O K AT M E :

I ’ M T H E K I N G O F N E W Y O R K !

S U D D E N LY

I ’ M R E S P E C TA B L E

S TA R I N ’ R I G H T AT ’ C H A

L O U S Y W I T H S TA’ C H A

A L B E R T

N O B B I N ’ W I T H A L L T H E M U C K E T Y- M U C K S

I ’ M B L O W I N ’ M Y D O U G H A N D G O I N ’ D E L U X E R A C E

A N D T H E R E I B E ! A I N ’ T I P R E T T Y ? R A C E , H E N R Y

I T ’ S M Y C I T Y

I ’ M T H E K I N G O F N E W Y O R K ! J O J O

A S O L I D G O L D WAT C H W I T H A C H A I N TO T W I R L I T L E S

M Y V E RY O W N B E D A N D A I N D O O R T E R L E T … M U S H

A B A R B E R S H O P H A I R C U T T H AT C O S T S A Q U A RT E R …

D A V E Y

(indicating KATHERINE)

A R E G U L A R B E AT F O R T H E S TA R R E P O RT E R !

R A C E

A M - S C R AY, P U N K

S H E ’ S T H E K I N G O F N E W Y O R K !

K A T H E R I N E

W H O ’ D ’ A T H U N K !

I ’ M T H E K I N G O F N E W Y O R K !

N E W S I E S

W E WA S S U N K

PA L E A N D P I T I F U L

K A T H E R I N E

B U N C H O F W E T N O O D L E S

K A T H E R I N E , N E W S I E S

P U L I T Z E R ’ S P O O D L E S

L E S

A L M O S T A B O U T TO D R O W N I N T H E D R I N K

B U T T O N S

W H E N S H E F I S H E D U S O U T

R A C E

A N D D R O W N E D U S I N I N K !

K A T H E R I N E

S O L E T ’ S G E T D R U N K !

N E W S I E S

Y E A H !

N O T W I T H L I Q U O R

K A T H E R I N E

FA M E W O R K S Q U I C K E R

W H E N Y O U ’ R E K I N G O F N E W Y O R K

N E W S I E S

I G O T TA B E E I T H E R D E A D O R D R E A M I N ’

’ C A U S E L O O K AT T H AT PA P E W I T H M Y FA C E B E A M I N ’

TO M O R R O W T H E Y M AY W R A P F I S H E S I N I T

B U T I WA S A S TA R F O R O N E W H O L E M I N U T E !

(The NEWSIES and KATHERINE dance, employing cups, brooms, spoons, and anything else they can find in the deli.)

K A T H E R I N E , N E W S I E S

L O O K AT M E :

I ’ M T H E K I N G O F N E W Y O R K !

WA I T A N D S E E :

T H I S I S G O N N A M A K E

B O T H T H E D E L A N C E Y S

P E E I N T H E I R PA N T- S I E S

F L A S H P O T S A R E S H O O T I N ’ B R I G H T A S T H E S U N !

I ’ M O N E H I G H FA L U T I N ’ S O N - O F - A - G U N !

I G U A R A N T E E :

T H O U G H I C R A P P E D O U T

I A I N ’ T TA P P E D O U T !

I ’ M T H E K I N G O F N E W

F R I E N D S M AY F L E E

L E T ’ E M D I T C H YA !

S N A P O N E P I T ’ C H A

Y O U ’ R E T H E K I N G O F N E W

H I S TO RY ! F R O N T PA G E

S C E N E T W O : T h e R e f u g e

(In an empty corner, CRUTCHIE is sitting on a bed holding a pencil and paper. A lighted candle sits nearby. Two other KIDS are lying on the bed, sleeping, and a FEW are sleeping on the floor around him. He reads what he’s written.)

(stops reading, daydreams)

( C R U T C H I E )

I A I N ’ T S L E P T A N D M Y L E G S T I L L A I N ’ T R I G H T

H E Y, B U T P U L I T Z E R , H E ’ S G O I N ’ D O W N !

A N D T H E N , J A C K , I WA S T H I N K I N ’ W E M I G H T

J U S T G O

L I K E Y O U WA S S AY I N G ”

(daydreaming again)

W H E R E I T ’ S C L E A N A N D G R E E N A N D P R E T T Y

W I T H N O B U I L D I N G S I N Y O U R WAY

A N D Y O U ’ S E R I D I N ’ PA L O M I N O S E V ’ RY D AY

O N C E T H AT T R A I N M A K E S

(A KID on the bed kicks CRUTCHIE.)

Damn this place (back to reading)

“ I ’ L L B E F I N E

G O O D A S N E W

B U T T H E R E ’ S O N E T H I N G I N E E D Y O U TO D O :

O N T H E R O O F TO P Y O U S A I D T H AT A FA M ’ LY L O O K S O U T F O R E A C H

O T H E R

S O Y O U T E L L A L L T H E F E L L A S F O R M E TO P R O T E C T O N E A N O T H E R

(pauses, writes)

T H E E N D

Y O U R F R I E N D …

(thinks, writes)

Y O U R B E S T F R I E N D … (hesitates, then crosses it out, writes)

Y O U R B R O T H E R …

C R U T C H I E ”

S N Y D E R (offstage)

You in there – pipe down! (CRUTCHIE blows out the candle.)

S C E N E T H R E E : M e d d a ’ s T h e a t e r

(JACK paints a backdrop of the Taos Mountains. It’s an explosion of color. MEDDA enters in a dressing robe.)

M E D D A

Here’s everything I owe you for the first backdrop, plus this one, and even a little something extra just account’a because I’m gonna miss you so

(MEDDA hands JACK an envelope full of money.)

J A C K

Miss Medda

Jack

You’re a gem

M E D D A

J A C K

M E D D A

Just tell me that you ’ re going somewhere and not running away

J A C K

Does it matter?

M E D D A

When you go somewhere and it turns out not to be the right place, you can always go somewhere else. But if you ’ re running away, nowhere’s ever the right place.

(DAVEY finds his way in through the stage flies, excited to see JACK )

D A V E Y

How ’bout lettin’ a pal know you ’ re alive?

M E D D A

Why don’t I leave you with your friend.

(MEDDA exits )

D A V E Y

Where’d you go? We couldn’t find you.

J A C K

Ever think I didn’t wanna be found?

(indicating the backdrop)

Is that a real place? That Santa Fe?

D A V E Y

( D A V E Y )

(suddenly remembering, holds out the newspaper)

Hey! You see the pape? We’re front page news, above the fold Oh, yes Above the fold.

J A C K

Good for you.

D A V E Y

Everyone wants to meet the famous Jack Kelly. Even Spot Conlon sent a kid just to say: next event you can count on Brooklyn How about that?

J A C K

We got stomped into the ground

D A V E Y

They got us this time I’ll grant you that But we took round one And with press like this our fight is far from over.

J A C K

Every newsie who could walk showed up this morning to sell papes like the strike never happened

D A V E Y

And I was there with them If I don’t sell papes, my folks don’t eat

J A C K

Save your breath I get it It’s hopeless

D A V E Y

But then I saw this look on Weasel’s face; he was actually nervous And I realized this isn’t over. We got them worried. Really worried. And I walked away. Lots of other kids did, too. And that is what you call a beginning.

(LES enters, calling to KATHERINE behind him.)

L E S

There he is, just like I said

J A C K

For cryin’ out loud Where’s a fella gotta go to get away from you people?

D A V E Y

There’s no escapin’ us, pal We’re inevitable

E S

(to DAVEY)

So, what’s the story? Can we have the theater?

Pipe down I didn’t ask yet

D A V E Y

E S

What’s the hold up? I need to let my girl know we ’ ve got a date

D A V E Y

Your girl?

E S

You heard me I’ve been swattin’ skirts away all morning Fame is one intoxicatin’ potion. And this here girl, Sally, she’s a plum.

J A C K

(sees KATHERINE)

Word is you wrote a great story

(tentatively approaches JACK)

You look like hell

(studying the painting)

K A T H E R I N E

Hey, Jack. Where’s that supposed to be?

D A V E Y

It’s Santa Fe.

K A T H E R I N E

I’ve got to tell you, Jack, this “Go west, young man ” routine is getting tired. Even Horace Greeley moved back to New York

E S

Yes, he did And then he died

J A C K

Ain’t reporters supposed to be non-partisan?

K A T H E R I N E

Ask a reporter Pulitzer ’ s had me blacklisted from every news desk in town L E S

Can we table the palaver and get back to business? Will Medda let us have the theater?

D A V E Y

(to JACK)

It’s what I been trying to tell you: we want to hold a rally – citywide meeting where

(

D A V E Y )

every newsie gets a say and a vote And we do it after working hours so no one loses a day’s pay. Smart?

J A C K

Smart enough to get you committed to a padded room!

K A T H E R I N E

The guy who paints places he’s never seen is calling us crazy?

J A C K

Want to see a place I seen? How about this? #

(JACK turns the backdrop around and reveals a large, passionately executed political cartoon of the newsies being crushed by Pulitzer in Newsie Square. DAVEY, LES, and KATHERINE stare in awe )

J A C K

Newsie Square, thanks to my big mouth, filled to overflowing with failure. Kids hurt, others arrested

D A V E Y

Lighten up No one died

J A C K

Is that what you ’ re aiming for? Go on and call me a quitter, call me a coward No way I’m puttin’ them kids back in danger.

D A V E Y

We’re doing something that has never been done before. How could that not be dangerous?

J A C K

Specs brung me a note from Crutchie at The Refuge I tried to see him Climbed the fire escape. But they busted him up so bad he couldn’t even come to the window. What if he don’t make it? You willing to shoulder that for a tenth of a penny a pape?

D A V E Y

It’s not about pennies You said it yourself: my family wouldn’t be in the mess we ’ re in if my father had a union. This is a fight we have to win.

J A C K

If I wanted a sermon, I’d show up for church.

D A V E Y

Tell me how quitting does Crutchie any good?

(JACK doesn’t answer him.)

Exactly So

H E R E ’ S H O W I T G O E S : O N C E W E W I N

A N D W E W I L L B E W I N N I N G , M A K E N O M I S TA K E

J A C K

W E ’ L L B E W H AT ? !

D A V E Y

W E ’ R E A L R E A D Y W I N N I N G

J A C K

R I G H T !

D A V E Y

A N D W E ’ L L T E L L ’ E M S T R A I G H T O U T

T H E Y L E T C R U T C H I E G O

O R T H E Y K E E P G E T T I N G P O U N D E D

J A C K

D AV E , W H AT T H E H E L L ?

D I D T H E Y B U S T U P Y O U R B R A I N S O R S O M E T H I N ’ ?

S I R E C A L L , D AV E , W E A L L G O T O U R A S S E S K I C K E D T H E Y W O N ! D A V E Y

O N T H E B AT T L E J A C K

C O M E O N !

J A C K I E , T H I N K A B O U T I T:

A V E Y

W E G O T T H E M S U R R O U N D E D ! J A C K

H E R E ’ S W H AT I T H I N K :

J O E ’ S A J E R K , H E ’ S A R AT T L E S N A K E ! D A V E Y

Y O U ’ R E R I G H T

N D Y O U K N O W W H Y A S N A K E S TA RT S TO R AT T L E ?

N O , W H Y ?

’ C A U S E H E ’ S S C A R E D

S U R E

G O A N D L O O K I T U P

J A C K

D A V E Y

J A C K

D A V E Y

T H E P O O R G U Y ’ S H E A D I S S P I N N I N G

W H Y D I D H E S E N D F O R T H E G O O N S ? A N E N T I R E A R M Y ?

D O Z E N S O F G O O N S , P L U S T H E C O P S A N D

J A C K

Y O U K N O W, Y O U M AY B E R I G H T

D A V E Y

T H A N K Y O U , G O D !

I F H E WA S N ’ T A F R A I D

E X A C T LY !

J A C K

D A V E Y

J A C K H U H

J A C K , D A V E Y

H E K N O W S W E ’ R E W I N N I N G !

D A V E Y , K A T H E R I N E , L E S

G E T T H O S E K I D S TO S E E W E ’ R E C I R C L I N G V I C TO RY A N D WAT C H W H AT H A P P E N S !

D A V E Y , J A C K , K A T H E R I N E , L E S

W E ’ R E D O I N G S O M E T H I N G N O O N E ’ S E V E N T R I E D

A N D Y E S , W E ’ R E T E R R I F I E D , B U T WAT C H W H AT H A P P E N S !

J A C K

Y O U C A N ’ T U N D O T H E PA S T

D A V E Y

S O J U S T M O V E O N

D A V E Y , K A T H E R I N E

A N D S TAY O N T R A C K

S TAY O N T R A C K

L E S

D A V E Y , J A C K , K A T H E R I N E , L E S

’ C A U S E H U M P T Y D U M P T Y I S A B O U T TO C R A C K !

K A T H E R I N E

W E ’ V E G O T FA I T H

D A V E Y

W E ’ V E G O T T H E P L A N L E S

A N D W E ’ V E G O T J A C K ! A L L

S O J U S T WAT C H W H AT H A P P E N S … W E ’ R E B A C K ! L E S

And I’ve got a date!

# 1 5 A B a c k t o P u l i t z e r ’ s O f f i c e

S C E N E F O U R : P u l i t z e r ’ s O f f i c e & C e l l a r, A f t e r n o o n

(The MAYOR, SEITZ, BUNSEN, and PULITZER are in a heated discussion. KATHERINE sits, listening quietly.)

M A Y O R

… but I’ve read your editorials, Mr. Pulitzer. How can you express so much sympathy for the trolley workers and yet have none for the newsies?

P U L I T Z E R

Because the trolley workers are striking for a fair contract The newsies are striking against me!

M A Y O R

I’d spare you this embarrassment if I could, but the burlesque house is private property.

B U N S E N

He can’t order a raid without legal cause.

P U L I T Z E R

Mr. Mayor, would the fact that this rally is organized by an escaped convict be enough to shut it down?

M A Y O R

An escaped convict?

P U L I T Z E R

A fugitive from one of your own institutions. A convicted thief, at large, reeking mischief on our law-abiding community.

(turns his desk chair around to reveal SNYDER and holds out the newspaper)

Mr. Snyder, which one is he?

(pointing to the photo)

That one there: Jack Kelly.

And how do you know this boy?

S N Y D E R

M A Y O R

S N Y D E R

His is not a pleasant story. He was first sentenced to my Refuge for loitering and vagrancy, but his total disregard of authority has made him a frequent visitor

M A Y O R

You called him a thief and escaped convict

S N Y D E R

After his release I caught him myself, red handed, trafficking stolen food and clothing. He was last sentenced to six months, but the willful ruffian escaped.

P U L I T Z E R

So you’d be doing the city a service removing this criminal from our streets.

M A Y O R

If that’s the case, we can take him in quietly and

P U L I T Z E R

(exploding)

What good would quiet do me? I want a public example made of him (HANNAH rushes into the office.)

H A N N A H

Mr. Pulitzer – the boy, Jack Kelly, is here.

P U L I T Z E R

Here?

Just outside. He’s asked to see you.

H A N N A H

P U L I T Z E R

Ask and ye shall be received. Mr. Snyder, if you please. Sit. (PULITZER directs SNYDER to retreat to the shadowy corner and spins KATHERINE in the swivel chair so she’s hidden as well. HANNAH escorts JACK into the room.)

H A N N A H

Mr. Jack Kelly.

Afternoon, boys…

J A C K

P U L I T Z E R

And which Jack Kelly is this? The charismatic union organizer, or the petty thief and escaped convict?

J A C K

Which one gives us more in common?

P U L I T Z E R

Impudence is in bad taste when crawling for mercy.

J A C K

Crawlin’? That’s a laugh I just dropped by with an invite Seems a few hundred of your employees are rallying to discuss recent disagreements. I thought it only fair to invite you to state your case straight to the fellas. So what’d’ya say, Joe? Want I should save you a spot on the bill?

P U L I T Z E R

You are as shameless and disrespectful a creature as I was told. Do you know what I was doing when I was your age, boy? I was fighting in a war.

J A C K

Yeah? How’d that turn out for ya?

P U L I T Z E R

It taught me a lesson that shaped my life. You don’t win a war on the battlefield. It’s the headline that crowns the victor

J A C K

I’ll keep that in mind when New York wakes up to front page photos of our rally

P U L I T Z E R

Rally till the cows come home Not a paper in town will publish a word And if it’s not in the papers, it never happened.

J A C K

You may run this city, but there are some of us who can’t be bullied. Even some reporters

P U L I T Z E R

Such as that young woman who made you yesterday’s news? Talented girl And beautiful as well, don’t you think?

J A C K

I’ll tell her you said so.

P U L I T Z E R

No need. She can hear for herself. Can’t you, darling?

(KATHERINE stands up JACK steps back in surprise )

I trust you know my daughter, Katherine.

(lets that sink in)

Yes. My daughter. You are probably asking, why the nom de plume and why doesn’t my daughter work for me? Good questions I offered Katherine a life of wealth and leisure. Instead she chose to pursue a career. And she was showing real promise, until this recent lapse But you ’ re done with all of that now, aren’t you, sweetheart?

Jack, I

K A T H E R I N E

P U L I T Z E R

Don’t trouble the boy with your problems, dearest Mr Kelly has a plateful of his own. Wouldn’t you say so, Mr. Snyder?

(SNYDER steps into sight.)

Hello, Jack.

S N Y D E R

(JACK tries to run for the door, but is stopped by the DELANCEYS He realizes he’s trapped.)

P U L I T Z E R

Ow! Does anyone else feel a noose tightening? But allow me to offer an alternate scenario: you attend the rally and speak against this hopeless strike, and I’ll see your criminal record expunged and your pockets filled with enough cash to carry you, in a first-class train compartment, from New York to New Mexico and beyond.

(to KATHERINE)

You did say he wanted to travel west, didn’t you?

J A C K

There ain’t a person in this room who don’t know you stink.

P U L I T Z E R

And if they know me, they know I don’t care. Mark my words, boy. Defy me, and I will have you and every one of your friends locked up in The Refuge I know you ’ re Mr. Tough Guy, but it’s not right to condemn that little crippled boy to conditions like that. And what about your pal Davey and his baby brother, ripped from their loving family and tossed to the rats? Will they ever be able to thank you enough?

( P U L I T Z E R )

T I M E ’ S R U N N I N G O U T, K I D

S O W H AT D O Y O U S AY ?

C O W B O Y O R C O N V I C T

I W I N E I T H E R WAY

Y O U R A B J E C T S U R R E N D E R

WA S A LWAY S T H E B O T TO M L I N E

Gentlemen, escort our guest to the cellar so he might reflect in solitude.

(The DELANCEYS lead JACK out of the office and into the cellar.)

( P U L I T Z E R )

TO O B A D Y O U ’ V E N O J O B , J A C K

B U T Y O U D I D R E S I G N

TO O B A D Y O U ’ V E N O FA M ’ LY

B U T Y O U C A N ’ T H AV E M I N E

B E G L A D Y O U ’ R E A L I V E , B O Y

I ’ D S AY T H AT ’ S T H E B O T TO M L I N E S E I T Z

L I K E T H E P I E D P I P E R Y O U K N E W W H AT TO P L AY

P U L I T Z E R

T I L L T H O S E K I D S A L L B E L I E V E D Y O U W E R E R I G H T

B U N S E N

L U C K Y F O R T H E M A L L B U T O N E G O T AWAY

P U L I T Z E R

T H E Y M AY N O T B E S O L U C K Y TO N I G H T …

(The DELANCEYS deposit JACK in a dark space populated with nothing but a large printing press.)

M O R R I S

We been given discretion to handle you as we see fit, so behave

O S C A R

But, just in case, I been polishin’ my favorite brass knuckles

(MORRIS pulls the dust-covered tarp off of the old press and tosses it to JACK.)

M O R R I S

You can sleep right here on this old printing press.

(slaps the hard surface)

Now that there is firm.

(OSCAR and MORRIS exit as JACK hopelessly takes in his surroundings Suddenly, a rhythmic drumbeat sounds in a military style. Voices are heard offstage.)

B R O O K L Y N N E W S I E S G R O U P 2

N E W S I E S N E E D O U R H E L P TO D AY !

B R O O K L Y N N E W S I E S G R O U P 1

T E L L ’ E M B R O O K LY N ’ S O N T H E I R WAY !

B R O O K L Y N N E W S I E S G R O U P 2

T E L L ’ E M B R O O K LY N ’ S O N T H E I R WAY !

B R O O K L Y N N E W S I E S G R O U P 1

W E ’ R E F R O M

B R O O K L Y N N E W S I E S G R O U P 2

B R O O K LY N !

B R O O K L Y N N E W S I E S G R O U P 1

W E A R E …

B R O O K L Y N N E W S I E S G R O U P 2

N E W S I E S !

B R O O K L Y N N E W S I E S G R O U P 1

W E A R E …

B R O O K L Y N N E W S I E S

B R O O K LY N N E W S I E S !

(The scene shifts to the Brooklyn Bridge as a cavalry of BROOKLYN NEWSIES make their way to the rally.)

S C E N E F I V E : B r o o k l y n B r i d g e & M e d d a ’ s T h e a t e r, E v e n i n g

B R O O K L Y N N E W S I E S

J U S T G O T W O R D T H AT O U R B U D D I E S I S H U RT I N ’

FA C I N ’ TO TA L D I S A S T E R F O R C E RTA I N

T H AT ’ S O U R C U E , B O Y S : I T ’ S T I M E TO G O S L U M M I N ’

H E Y, M A N H AT TA N , T H E C AVA L RY ’ S C O M I N ’

B R O O K L Y N N E W S I E S G R O U P 1

H AV E N O F E A R !

B R O O K L Y N N E W S I E S G R O U P 2

Y O U K N O W W E G O T Y O U R B A C K F R O M WAY B A C K !

B R O O K L Y N N E W S I E S G R O U P 1

B R O O K LY N ’ S H E R E !

B R O O K L Y N N E W S I E S G R O U P 2

W E ’ L L G E T Y O U R PAY B A C K W I T H S O M E

B R O O K L Y N N E W S I E S

PAY B A C K !

W E ’ R E T H E B O Y S

F R O M T H E B E A C H E S O F B R I G H TO N

P R O S P E C T PA R K

A N D T H E N AV Y YA R D P I E R

S T R I K E S A I N ’ T F U N

B U T T H E Y S U R E I S E X C I T I N ’

L O U D A N D C L E A R !

B R O O K LY N ’ S H E R E ! S P O T

B O R O U G H W H AT G AV E M E B I RT H

F R I E N D L I E S T P L A C E O N E A RT H

PAY U S A V I S I T A N D S E E W H AT W E M E A N S

B R O O K L Y N N E W S I E S G R O U P 1

A N D W H E N YA D O

B R O O K L Y N N E W S I E S G R O U P 2

W H E N YA D O

B R O O K L Y N N E W S I E S G R O U P 3

W H E N YA D O

B R O O K L Y N N E W S I E S

W E ’ L L K I C K YA H A L F WAY TO Q U E E N S !

(The BROOKLYN NEWSIES arrive at Medda’s Theater. With JACK’s political cartoon of Newsie Square as the backdrop, the theater begins to fill with NEWSIES from all five boroughs, singing and waving banners and placards.)

N E W S I E S

N O W T H E M S O A K E R S I S I N F O R A S O A K I N ’

W H AT A S A D WAY TO E N D A C A R E E R

T H E Y ’ S A J O K E , B U T I F T H E Y T H I N K S W E ’ R E J O K I N ’ …

B R O O K L Y N N E W S I E S

L O U D A N D C L E A R :

M A N H A T T A N N E W S I E S

M A N H AT TA N ’ S H E R E !

F L U S H I N G N E W S I E S

F L U S H I N G ’ S H E R E !

R I C H M O N D N E W S I E S

R I C H M O N D ’ S H E R E !

W O O D S I D E N E W S I E S

W O O D S I D E ’ S H E R E !

B R O N X N E W S I E S

S O ’ S D A B R O N X !

B R O O K L Y N N E W S I E S G R O U P 1

B R O O K LY N ’ S H E R E !

B R O O K L Y N N E W S I E S G R O U P 2

L O U D A N D C L E A R :

W E I S H E R E !

N E W S I E S

(The NEWSIES go crazy. SPOT shakes hands with DAVEY in the center of the stage as MEDDA steps forward.)

M E D D A

Welcome, Newsies of New York City. Welcome to my theater and your revolution!

(The CROWD cheers.)

D A V E Y

Let’s hear it for Spot Conlon and Brooklyn!

S P O T

Newsies united! Let’s see what Pulitzer has to say to you now

F I N C H

Hey Davey, where’s Jack?

Yeah We want Jack! Where is he?

(DAVEY looks to MEDDA for help.)

N E W S I E S

M E D D A

Sorry, kid No sign of him yet Looks like you ’ re doing a solo

N E W S I E S

Jack! Jack! Jack! Jack!

(DAVEY timidly takes the stage.)

D A V E Y

Newsies of New York look at what we ’ ve done! We’ve got newsies from every pape and every neighborhood here tonight. Tonight you ’ re making history.

(The NEWSIES cheer )

Tonight we declare that we ’ re just as much a part of the newspaper as any reporter or editor.

(The cheers grow louder.)

We’re done being treated like kids. From now on they will treat us as equals.

(JACK appears from the back of the theater and starts down the aisle.)

J A C K

You wanna be talked to like an adult? Then start actin’ like one. Don’t just run your mouth Make some sense

D A V E Y

And here’s Jack!!!

Jack! Jack! Jack!

N E W S I E S

(JACK climbs up onto the stage as DAVEY heaves a sigh of relief. KATHERINE has arrived and stands in a balcony.)

(quieting the NEWSIES)

All right. Pulitzer raised the price of papes without so much as a word to us. That was a lousy thing to do

(The NEWSIES cheer.)

So we got mad and let ’ em know we ain’t gonna be pushed around.

(More cheers.)

So we go on strike. Then what happens? Pulitzer lowers the price so ’ s we’ll go back to work! And a few weeks later he hikes the price back up again, and don’t think he won’t. So what do we do then? And what do we do if he decides to raise his price again after that?

(DAVEY and the NEWSIES look to each other, confused by what JACK is saying.)

Fellas, we gotta be realistic. We don’t work, we don’t get paid. How many days can you go without makin’ money? However long, believe me, Pulitzer can go longer.

(The NEWSIES boo.)

But I have spoken to Mr. Pulitzer and he has given me his word: if we disband the union, he will not raise prices again for two years. He will even put it in writing.

(The boos are now drowning out JACK.)

I say we take the deal. Go back to work knowing that our price is secure. All we need to do is vote “NO” on the strike Vote “NO”!

(The boos overwhelm JACK. He walks toward the wings, where BUNSEN is waiting with a wad of cash He holds out the money out and JACK pockets it, looking around guiltily. LES reaches out, but JACK muscles him away and rushes out. The NEWSIES are furious, and their booing echoes across the theater, and the city, as the scene transitions…)

S C E N E S I X : R o o f t o p , N i g h t

# 1 7 A T o t h e R o o f t o p

(KATHERINE has discovered JACK’s drawings stuffed in an air vent pipe and opens them up. JACK arrives.)

K A T H E R I N E

That was some speech you made.

How’d you get here?

Specs showed me.

(snatches his drawings)

J A C K

K A T H E R I N E

He say you could go through my stuff?

J A C K

K A T H E R I N E

I saw them rolled up, sticking out of there I didn’t know what they were These drawings…? These are drawings of The Refuge, aren’t they?

(takes the drawings back and studies them closer)

Is this really what it’s like in there: three boys to a bed, rats everywhere, and vermin?

J A C K

A little different from where you were raised?

K A T H E R I N E

Snyder told my father you were arrested stealing food and clothing. This is why, isn’t it? You stole to feed those boys

(JACK, embarrassed, turns away.)

I don’t understand. If you were willing to go to jail for those boys, how could you turn your back on them now?

J A C K

I don’t think you ’ re anyone to talk about turning on folks.

K A T H E R I N E

I never turned on you or anyone else.

J A C K

No. You just double crossed us to your father. Your father!!

K A T H E R I N E

My father has eyes on every corner of this city He doesn’t need me spying for him And I never lied. I didn’t tell you everything…

J A C K

If you weren’t a girl you’d be trying to talk with a fist in your mouth.

K A T H E R I N E

I said that I worked for the Sun, and I did. I told you my professional name was Plumber, and it is. You never asked my real one.

J A C K

I wouldn’t think I had to unless I knew I was dealing with a backstabber.

K A T H E R I N E

And if I was a boy, you’d be looking at me through one swollen eye.

J A C K

Don’t let that stop ya. Gimme your best shot.

(JACK presents his face to her. KATHERINE, out of nowhere, grabs JACK and kisses him full on the lips. They part. A moment of silence and then JACK tries to get another kiss, but is blocked.)

K A T H E R I N E

I need to know you didn’t cave for the money.

J A C K

I spoke the truth. You win a fight when you got the other fella down eatin’ pavement. You heard your father. No matter how many days we strike, he ain’t givin’ up. I don’t know what else we can do.

K A T H E R I N E

Ah. But I do.

Oh, come on…

J A C K

K A T H E R I N E

Really, Jack? Really? Only you can have a good idea? Or is it because I’m a girl?

J A C K

I didn’t say nothin’…

K A T H E R I N E

This would be a good time to shut up. Being boss doesn’t mean you have all the answers Just the brains to recognize the right one when you hear it

J A C K

I’m listening

K A T H E R I N E

Good for you The strike was your idea The rally was Davey’s And now my plan will take us to the finish line. Deal with it.

(KATHERINE takes a piece of paper from her pocket and hands it to him.)

J A C K

(reading)

“The Children’s Crusade”?

(snatches it back and reads)

K A T H E R I N E

“For the sake of all the kids in every sweatshop, factory, and slaughter house in New York, I beg you… join us. ” With those words, the strike stopped being just about the newsies You challenged our whole generation to stand up and demand a place at the table.

J A C K

“The Children’s Crusade”??

K A T H E R I N E

Think, Jack, if we publish this – my words with one of your drawings – and if every worker under twenty-one read it and stayed home from work… or better yet, came to Newsie Square – a general city-wide strike! Even my father couldn’t ignore that.

J A C K

Only one small problem: we got no way to print it.

K A T H E R I N E

Come on, there has to be one printing press he doesn’t control.

J A C K

(suddenly remembering)

Oh, no

What?

K A T H E R I N E

J A C K

I know where there’s a printing press that no one would ever think we’d use

K A T H E R I N E

Then why are we still standing here?

(KATHERINE starts climbing down the fire escape ladder, but JACK stops her.)

J A C K

Wait Stop What’s this about for you? I don’t mean “The Children’s Crusade ”

( J A C K )

(indicating the two of them)

What’s this about? Am I kiddin’ myself or is there something…

K A T H E R I N E

Of course there is.

J A C K

Well, don’t say it like this happens every day!

K A T H E R I N E

Oh, Jack…

J A C K

I’m not an idiot. I know girls like you don’t wind up with guys like me. And I don’t want you promisin’ nothin’ you gotta take back later But standing here tonight lookin’ at you… I’m scared tomorrow’s gonna come and change everything.

# 1 8 S o m e t h i n g t o B e l i e v e I n K a t h e r i n e , J a c k

( J A C K )

If there was a way I could grab hold of something to make time stop. Just so ’ s I could keep looking at you

K A T H E R I N E

You snuck up on me, Jack Kelly I never even saw it coming

J A C K

For sure?

For sure

K A T H E R I N E

( K A T H E R I N E )

I H AV E S O M E T H I N G TO B E L I E V E I N

N O W T H AT I K N O W Y O U B E L I E V E D I N M E

J A C K

W E W E R E N E V E R M E A N T TO M E E T

A N D T H E N W E M E E T, W H O K N O W S W H Y ?

O N E M O R E S T R A N G E R O N T H E S T R E E T

J U S T S O M E O N E S W E E T PA S S I N ’ B Y

A N A N G E L C O M E TO S AV E M E

W H O D I D N ’ T E V E N K N O W S H E G AV E M E

S O M E T H I N G TO B E L I E V E I N

F O R E V E N A D AY

O N E D AY M AY B E F O R E V E R

B U T T H AT ’ S O K AY

T H AT ’ S O K AY

A N D I F I ’ M G O N E TO M O R R O W

W H AT WA S O U R S S T I L L W I L L B E :

I H AV E S O M E T H I N G TO B E L I E V E I N

N O W T H AT I K N O W Y O U B E L I E V E D I N M E

K A T H E R I N E , J A C K

D O Y O U K N O W W H AT I B E L I E V E I N ?

L O O K I N TO M Y E Y E S A N D S E E

(KATHERINE and JACK kiss until JACK pulls himself away.)

J A C K

If things were different…

If you weren’t going to Santa Fe?

K A T H E R I N E

J A C K

And if you weren’t an heiress. And if your father wasn’t after my head.

K A T H E R I N E (teasing)

You’re not really scared of my father

No But I’m pretty scared of you!

Don’t be

J A C K

K A T H E R I N E

J A C K

A N D I F I ’ M G O N E TO M O R R O W

K A T H E R I N E

W H AT WA S O U R S S T I L L W I L L B E

K A T H E R I N E , J A C K

I H AV E S O M E T H I N G TO B E L I E V E I N

N O W T H AT I K N O W Y O U B E L I E V E D I N M E

J A C K

I H AV E S O M E T H I N G TO B E L I E V E I N

K A T H E R I N E , J A C K

N O W T H AT I K N O W Y O U B E L I E V E D I N M E

(Lights fade as a drum beat is heard.)

# 1 9

S C E N E S E V E N : P u l i t z e r ’ s C e l l a r

S e i z e t h e D a y ( R e p r i s e ) N e w s i e s

(In the semi-darkness, the NEWSIES criss-cross the stage, lanterns in hand, spreading the news of the strike regroup, one to the next, in conspiratorial whispers.)

N E W S I E S

N O W I S T H E T I M E TO S E I Z E T H E D AY

S TA R E D O W N T H E O D D S A N D S E I Z E T H E D AY

M I N U T E B Y M I N U T E

T H AT ’ S H O W Y O U W I N I T

W E W I L L F I N D A WAY

B U T L E T U S S E I Z E T H E D AY

(JACK and KATHERINE enter the cellar. She hands him a ring of keys.)

K A T H E R I N E

I’ll get the lights You get those windows unlocked

J A C K

(goes to work undoing the window bars)

You got enough keys here for the entire building. Has someone been picking daddy’s pockets?

K

A T H E R I N E

The janitor ’ s been working here since he was eight and hasn’t had a raise in twenty years. He’s with us one-hundred percent.

(KATHERINE turns up the lights and uncovers the printing press. DAVEY, RACE, and a few other NEWSIES pour through the window. Two well-dressed boys, BILL and DARCY, go straight to work on the printing press )

J A C K

(to DAVEY)

You bring enough fellas to keep us covered?

D A V E Y

We could hold a hoe-down in here and no one would be the wiser.

J A C K

Good job.

It’s good to have you back again.

D A V E Y

J A C K

(apologizing, appreciatively, in his own way)

Shut up.

K A T H E R I N E

Here she is, boys. Just think, while my father snores blissfully in his bed, we will be using his very own press to bring him down

J A C K

Remind me to stay on your good side (RACE goes to the printing press.)

Is this what they print the papes on?

R A C E

D A R C Y

I can see why they tossed this old girl down to the cellar, but I think she will do the job.

K A T H E R I N E

Jack, this is Darcy. He knows just about everything there is to know about printing.

J A C K

You work for one of the papes?

My father owns the Trib.

Whoa!

D A R C Y

J A C K

K A T H E R I N E

And this is Bill. He’ll be typesetting the article for us.

J A C K

(being funny)

Bill? So I suppose you ’ re the son of William Randolph Hearst?

B I L L

And proud to be part of your revolution!

J A C K

(in awe)

Ain’t that somethin’?

K A T H E R I N E

In the words of the little one, “Can we table the palaver and get down to business?”

D A R C Y

A little grease and she’ll be good as gold

# 2 0 O n c e a n d f o r A l l J a c k , D a v e y, K a t h e r i n e , N e w s i e s

D A V E Y

All right. Here’s how it’ll work: as we print the papes, Race, you’ll let the fellas in, and they’ll spread them to every workin’ kid in New York. After that...?

J A C K

After that it’s up to them.

(RACE takes his position at the window.)

T H E R E ’ S C H A N G E C O M I N ’ O N C E A N D F O R A L L

Y O U M A K E S T H E F R O N T PA G E

A N D M A N , Y O U I S M A J O R N E W S

J A C K , D A V E Y

TO M O R R O W T H E Y ’ L L S E E W H AT W E A R E

J A C K , D A V E Y , K A T H E R I N E

A N D S U R E A S A S TA R , W E A I N ’ T

C O M E T H I S FA R TO L O S E !

R A C E

Here they come!

(More NEWSIES take up their positions ) N E W S I E S

T H I S I S T H E S TO RY W E N E E D E D TO W R I T E

T H AT ’ S B E E N K E P T O U T O F S I G H T, B U T N O M O R E !

I N A F E W H O U R S , B Y D AW N ’ S E A R LY L I G H T W E ’ L L B E R E A D Y TO F I G H T U S A WA R

T H I S T I M E W E ’ R E I N I T TO S TAY

TA L K A B O U T S E I Z I N G T H E D AY !

J A C K

(to BILL)

W R I T E I T W I T H I N K O R I N B L O O D

I T ’ S T H E S A M E E I T H E R WAY:

T H E Y ’ R E G O N N A D A M N W E L L PAY !

N E W S I E S

S E E O L’ M A N P U L I T Z E R S N U G I N H I S B E D

H E D O N ’ T C A R E I F W E ’ R E D E A D O R A L I V E

T H R E E S AT I N P I L L O W S A R E U N D E R H I S H E A D

W H I L E W E ’ S E B E G G I N ’ F O R B R E A D TO S U RV I V E

J O E , Y O U C A N S TO P C O U N T I N ’ S H E E P

W E ’ R E G O N N A S I N G YA TO S L E E P

T H E N W H I L E YA S N O O Z E W E ’ L L B E L I G H T I N ’ A F U S E

W I T H A P R O M I S E W E ’ S E A C H I N ’ TO K E E P

(BILL typesets the Newsies Banner.)

J A C K

O N C E A N D F O R A L L

I F T H E Y D O N ’ T M I N D T H E I R M A N N E R S

W E ’ L L B L E E D ’ E M !

B L E E D ’ E M !

O N C E A N D F O R A L L

N E W S I E S

R A C E

W E W O N ’ T C A R RY N O B A N N E R S

T H AT D O N ’ T S P E L L

“ F R E E D O M ! ”

N E W S I E S

F I N ’ L LY W E ’ S E R A I S I N ’ T H E S TA K E S !

T H I S T I M E W H AT E V E R I T TA K E S !

T H I S T I M E T H E U N I O N AWA K E S

O N C E A N D F O R A L L !

(DARCY pulls the first proof from the press and hands it to RACE. He passes it across the NEWSIES to KATHERINE )

K A T H E R I N E (reading)

“In the words of union leader Jack Kelly, ‘We will work with you. We will even work for you But we will be paid and treated as valuable members of your organizations.’” Riveting stuff, huh?

J A C K

(to KATHERINE)

Get going You’ve got a very important man to see

Keep your fingers crossed

For us, too

K A T H E R I N E

J A C K

(KATHERINE exits. The printing press churns away at a rhythmic pace. Papers are bundled. Bundles are passed between NEWSIES and collected for distribution.)

N E W S I E S

T H I S I S F O R K I D S S H I N I N ’ S H O E S O N T H E S T R E E T

W I T H N O S H O E S O N T H E I R F E E T E V ’ RY D AY

T H I S I S F O R G U Y S S W E AT I N ’ B L O O D I N T H E S H O P S

W H I L E T H E B O S S E S A N D C O P S L O O K AWAY

I ’ M S E E I N ’ K I D S S TA N D I N ’ TA L L

G L A R I N ’ A N D R A R I N ’ TO B R AW L

A R M I E S O F G U Y S W H O A R E S I C K O F T H E L I E S

G E T T I N ’ R E A D Y TO R I S E TO T H E C A L L !

O N C E A N D F O R A L L

T H E R E ’ L L B E B L O O D O N T H E WA L L

I F T H E Y D O U B T U S

T H E Y T H I N K T H E Y ’ R E R U N N I N G T H I S TO W N

B U T T H I S TO W N ’ L L S H U T D O W N W I T H O U T U S !

N E W S I E S G R O U P 1

T E N T H O U S A N D K I D S I N T H E S Q U A R E !

N E W S I E S G R O U P 2

T E N T H O U S A N D K I D S I N T H E S Q U A R E !

N E W S I E S G R O U P 1

T E N T H O U S A N D F I S T S I N T H E A I R !

N E W S I E S G R O U P 2

T E N T H O U S A N D F I S T S ! N E W S I E S

J O E , Y O U I S G O N N A P L AY FA I R

O N C E A N D F O R A L L !

N E W S I E S G R O U P 1

O N C E A N D F O R A L L !

N E W S I E S G R O U P 2

O N C E A N D F O R A L L !

N E W S I E S G R O U P 1

O N C E A N D F O R A L L !

N E W S I E S G R O U P 2

O N C E A N D F O R A L L !

N E W S I E S G R O U P 1

O N C E A N D F O R A L L !

N E W S I E S G R O U P 2

O N C E A N D F O R A L L !

(Ready to hit the streets, the NEWSIES raise their papers in defiance.)

N E W S I E S

T H E R E ’ S C H A N G E C O M I N ’ O N C E A N D F O R A L L

Y O U ’ R E G E T T I N ’ TO O O L D

TO O W E A K TO K E E P H O L D I N ’ O N

A N E W W O R L D I S G U N N I N ’ F O R Y O U

A N D J O E , W E I S TO O

T I L L O N C E A N D F O R A L L Y O U ’ R E G O N E !

A V E Y

A N D F O R A L L !

(The sun rises as KATHERINE heads to her meeting, the Newsies Banner and Jack’s drawings in hand.)

S C E N E E I G H T : P u l i t z e r ’ s O f f i c e , N e x t M o r n i n g

(The office is in full panic mode. HANNAH and BUNSEN scramble to answer phones as they continue to ring incessantly. PULITZER sits furiously at his desk.)

H A N N A H

(into phone)

I’m sorry, Mr. Pulitzer will have to call you back.

B U N S E N

I’m sorry, but he’ll have to call you back.

H A N N A H

(next phone)

He can’t talk He’ll call you back

B U N S E N

I’m sorry, but he’ll I’m sorry I’m sorry

P U L I T Z E R

Silence those phones!!!

(HANNAH and BUNSEN remove the receivers from their cradles.)

B U N S E N

The entire city is shut down No one is working anywhere And everyone is blaming you.

H A N N A H

They’re all calling: the Mayor, the publishers, the manufacturers… and such language!

(JACK, DAVEY, and SPOT enter merrily, chased by SEITZ.)

S E I T Z

You can’t just barge in

J A C K

(offers up the Newsies Banner to PULITZER)

How we doin’ this morning, gents?

P U L I T Z E R

You’re behind this? We had a deal

J A C K

(tosses the bribe money on Pulitzer’s desk)

And it came with a money-back guarantee. And thanks for your lessons on the power of the press

S E I T Z

(examining the article)

Did you read this, boss? These kids put out a pretty good paper. Very convincing.

P U L I T Z E R

No doubt written by my daughter.

(now reclining in an office chair)

J A C K

I’d sign her before someone else grabs her up.

P U L I T Z E R

I demand to know who defied my ban on printing strike material!

J A C K

We’re your loyal employees. We’d never take our business elsewhere.

S E I T Z

(examining the paper)

The old printing press in the cellar…

P U L I T Z E R

(taking measured steps toward JACK)

I made you the offer of a lifetime Anyone who does not act in his own self-interest is a fool.

D A V E Y

What’s that make you? This all began because you wanted to sell more papers. But now your circulation is down seventy percent Why didn’t you just come talk to us?

J A C K

Guys like Joe don’t talk with nothin’s like us But a very wise reporter told me a real boss don’t need the answers. Just the smarts to snatch the right one when he hears it.

(NEWSIES sing in Newsie Square below Pulitzer’s office.)

( N E W S I E S )

B U T L E T U S S E I Z E T H E D AY

(The NEWSIES continue to hum as a drum beats steadily.)

S P O T

Have a look out there, Mr. Pulitzer. In case you ain’t figured it out, we got you surrounded

J

A C K

New York is closed for business Paralyzed You can’t get a paper or a shoe shine You can’t send a message or ride an elevator or cross the Brooklyn Bridge. You can’t even leave your own building. So, what’s your next move?

(BUNSEN rushes back into the room in a tizzy.)

B

U N S E N

Mr Pulitzer, the Mayor is here along with your daughter and oh, you ’ re not going to believe who else!

(In walk the MAYOR, KATHERINE, MEDDA, and GOVERNOR TEDDY ROOSEVELT.)

M A Y O R

Good morning, Mr Pulitzer I think you know the Governor

P U L I T Z E R Governor Roosevelt?

R O O S E V E L T

Joseph, Joseph, Joseph What have you done now?

P U L I T Z E R

I’m certain when you hear my explanation

R O O S E V E L T

Thanks to Miss Medda Larkin bringing your daughter to my office, I already have a thorough grasp of the situation – graphic illustrations included.

(brandishes Jack’s drawings)

Bully is the expression I usually employ to show approval. But in your case I simply mean bully!

(to KATHERINE, referring to JACK)

And is this the boy of whom you spoke?

(to JACK)

How are you, son? I’m told we once shared a carriage ride

Pleasure’s mine, Mr Governor

(to PULITZER)

R O O S E V E L T

Well, Joe, don’t just stand there letting those children sing endlessly. Give them the good news

P U L I T Z E R

What good news?

R O O S E V E L T

That you ’ ve come to your senses and rolled back prices Unless, of course, you want to invite a full state senate investigation into your employment practices.

P U L I T Z E R

(red with anger)

You wouldn’t

R O O S E V E L T

After the pressure you wielded to keep me from office? I’d do it with a smile. Come along, Joseph. There’s only one thing worse than a hard heart, and that’s a soft head.

(PULITZER growls and postures.)

And think of the happiness you’ll bring those children.

(to KATHERINE)

He doesn’t do happiness, does he?

(cornered, shifting tactics)

P U L I T Z E R

Mr. Kelly, if I may speak to you… alone.

(The OTHERS withdraw from the room.)

R O O S E V E L T

(to JACK)

Keep your eyes on the stars, and your feet on the ground You can do this (ROOSEVELT exits. JACK and PULITZER are alone.)

P U L I T Z E R

I cannot put the price back where it was.

(JACK starts to move away.)

( P U L I T Z E R )

I’m sorry, I can’t There are other considerations

J A C K

I get it You need to save face front of all these folks I’m young, I ain’t stupid

P U L I T Z E R

Thank you for understanding

J A C K

But I got constituents with a legitimate gripe

P U L I T Z E R

What if I reduce the raise by half and get the others to do the same? It’s a compromise we can all live with.

J A C K

But you eat our losses. From now on, any papes we can’t sell, you buy back – full price.

P U L I T Z E R

That’s never been on the table! What’s to stop newsies from taking hundreds of papers they can’t sell? My costs will explode!

J A C K

No newsie is gonna break his back haulin’ around papes he can’t sell. But if they can take a few more with no risk, they might sell ’ em and your circulation would begin to grow

(aping PULITZER)

“It’s a compromise we can all live with.”

P U L I T Z E R

(calmly considering)

That’s not a bad head you ’ ve got on your shoulders

(JACK spits in his hand and holds it out for PULITZER to shake.)

J A C K Deal?

P U L I T Z E R

That’s disgusting

Just the price of doin’ business

J A C K

(PULITZER spits in his hand. JACK grabs it and shakes. The deal has been sealed!)

S C E N E N I N E : N e w s i e S q u a r e

# 2 1 F i n a l e U l t i m o ( P a r t 1 ) C o m p a n y

(As the scene restores to Newsie Square, the NEWSIES gather with signs and placards.)

N E W S I E S

A N D T H E W O R L D W I L L K N O W

W E B E E N K E E P I N ’ S C O R E

E I T H E R T H E Y G I V E S U S O U R R I G H T S

O R W E G I V E S T H E M A WA R

W E B E E N D O W N TO O L O N G

A N D W E PA I D O U R D U E S

A N D T H E T H I N G S W E D O TO D AY

W I L L B E TO M O R R O W ’ S N E W S

A N D T H E D I E I S C A S T

A N D T H E TO R C H I S PA S S E D

N E W S I E S G R O U P 1

A N D A R O A R W I L L R I S E …

N E W S I E S G R O U P 2

… F R O M T H E S T R E E T S B E L O W

N E W S I E S G R O U P 1

A N D O U R R A N K S W I L L G R O W

N E W S I E S

A N D G R O W A N D G R O W

A N D G R O W A N D G R O W

A N D G R O W A N D …

(JACK, KATHERINE, MEDDA, SPOT, DAVEY, ROOSEVELT, and PULITZER come out to the square. PULITZER, ROOSEVELT, and JACK mount a raised platform to address the CROWD.)

J A C K

Newsies of New York City… we won!!

(The CROWD roars JACK quiets them )

And now I’d like to introduce my own personal pal, Governor Theodore Roosevelt himself!!!

(The CROWD cheers.)

R O O S E V E L T

(recognizing this historical moment)

Each generation must, at the height of its power, step aside and invite the young to share the day. You have laid claim to our world and I believe the future, in your hands, will be bright and prosperous (turning to JACK)

And your drawings, son, have brought another matter to bear (signalling offstage)

Officers, if you please

(A police whistle sounds. CRUTCHIE appears, blowing the whistle and waving.)

R A C E

Hey lookit, Jack It’s Crutchie!

(ad lib)

Crutchie!

Hiya, fellas You miss me?

(ad lib)

N E W S I E S

C R U T C H I E

N E W S I E S

Yeah. Sure. Ain’t been the same without ya.

C R U T C H I E

And lookit what I got yis: a gift straight from The Refuge.

(calling offstage)

Bring him in, fellas!

(Two POLICEMEN enter with SNYDER between them.)

R A C E

It’s Snyder the Spider!

M U S H

He ain’t lookin’ so tough no more, is he?

R O O S E V E L T

Jack, with those drawings you made an eloquent argument for shutting down The Refuge. Be assured that Mr. Snyder ’ s abuses will be fully investigated.

(to a POLICEMAN)

Officer, take him away.

(to ROOSEVELT)

( R O O S E V E L T )

C R U T C H I E

Please, Your Highness… may I do the honors?

(ROOSEVELT gives him the approval CRUTCHIE slaps handcuffs onto SNYDER )

S N Y D E R

You’ve got to be joking.

C R U T C H I E

And you’ll be laughing all the way to the pen, “little man. ”

(CRUTCHIE gives SNYDER a kick in the rear )

So long, sucker!

Thank you, Governor.

J A C K

(JACK races down to embrace CRUTCHIE. PULITZER steps forward, snatching Jack’s drawings away from ROOSEVELT.)

P U L I T Z E R

(to JACK)

I can’t help thinking if one of your drawings convinced the governor to close The Refuge, what might a daily political cartoon do to expose the dealings in our own government back rooms?

(to ROOSEVELT)

What do you say, Teddy? Care to have this young man ’ s artistry shine a lantern behind your closed doors?

J A C K

Don’t sweat it, Gov. With the strike settled, I probably should be hitting the road.

(DAVEY and KATHERINE move towards JACK )

D A V E Y

Don’t you ever get tired of singing that same old tune? What’s Santa Fe got that New York ain’t? Sand storms?

K A T H E R I N E

Better yet: what’s New York got that Santa Fe ain’t?

C R U T C H I E

New York’s got us And we ’ re family

P U L I T Z E R

(bellowing from above)

Didn’t I hear something about the strike being settled?

(WIESEL and the DELANCEYS open the distribution window as PULITZER exits.)

W I E S E L

Papes for the newsies. Line up, boys. These papes ain’t gonna sell themselves.

M E D D A

(exiting with ROOSEVELT)

Come along, Governor, and show me the back seat I’ve been hearing so much about.

K A T H E R I N E

(teasing JACK)

Well, don’t just stand there, you ’ ve got a union to run. Besides, didn’t someone just offer you a pretty exciting job?

J A C K

Me work for you father?

You already work for my father.

Oh, yeah.

K A T H E R I N E

J A C K

K A T H E R I N E

And you ’ ve got one more ace up your sleeve.

J A C K

What would that be?

K A T H E R I N E

Me. Wherever you go, I’m there right by your side.

J A C K

For sure?

For sure.

A T H E R I N E

( J A C K )

N O W M Y E Y E S I S F I N ’ L LY O P E N

A N D M Y D R E A M S , T H E Y ’ S AV ’ R A G E S I Z E

B U T T H E Y D O N ’ T M U C H M AT T E R I F Y O U A I N ’ T W I T H M E

(JACK grabs KATHERINE in an embrace and they kiss ) L E S

(pointing at the public display of affection) Guys!

(The NEWSIES catcall and whistle their approval.)

D A V E Y Well, Jack… you in or you out?

(JACK leaves KATHERINE With a big smile, he approaches WIESEL, slaps his money down on the counter, and snatches up his papes.)

# 2 1 A F i n a l e U l t i m o ( P a r t 2 )

O M P A N Y

E ’ L L A L L B E O U T T H E R E C A R RY I N G T H E B A N N E R , M A N TO M A N !

E ’ R E A LWAY S O U T T H E R E

S O A K I N ’ E V ’ RY S U C K E R T H AT W E C A N

S I O N ! ” K I L L T H E C O M P E T I T I O N !

S E L L T H E N E X T E D I T I O N !

W E ’ L L B E O U T T H E R E

C A R RY I N G T H E B A N N E R !

S E E U S O U T T H E R E

C A R RY I N G T H E B A N N E R !

A LWAY S O U T T H E R E

C A R RY I N G T H E B A N N E R !

L O O K AT M E :

I ’ M T H E K I N G O F N E W Y O R K !

S U D D E N LY

I ’ M R E S P E C TA B L E

S TA R I N ’ R I G H T AT ’ C H A

L O U S Y W I T H S TA’ C H A

( C O M P A N Y )

G L O RY B E !

I ’ M T H E K I N G O F N E W Y O R K !

V I C TO RY !

F R O N T PA G E S TO RY

G U T S A N D G L O RY

I ’ M T H E K I N G … O F N E W Y O R K !

(End of play.)

Musical Numbers (Vocal Book)

ACT ONE

(#1)

(#2)

(#2A)

(#3)

(#3A)

(#4)

(#4A)

(#5)

(#6) That’s Rich

(#6A) I Never Planned on You /

(#6B) To the Distribution Window

(#8)

(#9A)

(#14) Letter from The Refuge

(#15) Watch What Happens (Reprise)

(#15A) Back to Pulitzer

Office

(#16) The Bottom Line (Reprise)

(#17A) To the Rooftop

(#18)

(#19) Seize the Day (Reprise)

(Playoff)

(#20B) Seize the Day (Reprise 2)

(#21) Finale Ultimo (Part 1)

(#21A) Finale Ultimo (Part 2)

(#23) Exit

TACET

Jack Crutchie

Santa Fe (Prologue)

CUE: Segue as one from No. 1 "Overture"

JACK: Whereyougoing?Morningbellain’trungyet.Getbacktosleep. Pastorale, freely

#2

CRUTCHIE: Iwannabeattheotherfellastothestreet.Idon’twantanyoneshouldsee;Iain’tbeenwalkin’ sogood. JACK: Quitgripin’.Youknowhowmanyguysfakealimpforsympathy?

[JACK]Thatbumlegofyoursisagoldmine.

CRUTCHIE: SomeonegetstheideaIcan’tmakeitonmyown, they’lllockmeupinTheRefugeforgood.Beapal,Jack.Helpmedown.

JACK: Youwannabustyourotherlegtoo? CRUTCHIE: No.Iwannagodown.

JACK: You’llbedowntheresoonenough.Takeamoment

todrinkinmypenthousehighabovethestinkin’streetsofNewYork. CRUTCHIE: You’recrazy.

JACK: BecauseIlikeabreathoffreshair?‘CauseIlikeseein’the A little slower

skyandthestars? CRUTCHIE: You’reseein’starsallright!

JACK: Themstreetsdowntheresuckedtheliferightouttamyoldman. A tempo

Yearsofrottenjobs,stompedonbybosses.Andwhentheyfinallybrokehim,theytossedhimtothecurb likeyesterday’spaper.Well,theyain’tdoin’thattome.

CRUTCHIE: Buteveryonewantstocomehere.

JACK:NewYork'sfineforthosewhatcanaffordabigstrongdoortolockitout.

4

ButItellyou,Crutchie,there'sawholeotherwayoutthere.Soyoukeepyoursmalllifein thebigcity.Givemeabiglifeinasmalltown.

3

Yougotfolksthere? JACK: Gotnofolksnowhere.You?

CRUTCHIE: Idon'tneedfolks.Igotfriends. JACK: How'saboutyoucomewithme? NooneworriesaboutnogimpleginSantaFe.

Youjusthopapalominoandrideinstyle. CRUTCHIE: Featureme:ridin’instyle.

JACK: Ibetafewmonthsofcleanairandyoucouldtossthatcrutchforgood.

Hey!Specs,Racer,Henry,Albert,Elmer.Getamoveon,boys. Thempapesdon'tsellthemselves!

=144 (Tempo of #2A)

Prologue (Playoff)

CUE: Segue as one from No. 2 "Santa Fe (Prologue)"

VRACE: Hey, Albert, Elmer, Specs! You heard Jack. Get a move on.

ALBERT: Iwashavin'themostbeautifuldream.Mylipsisstilltingling.

RACE: Aprettygirl? ALBERT: Alegoflamb! RACE:Hey!

RACE:

That'smyci–

AS ONE]

Jack Nuns (Katherine) (Oscar) (Morris)

Carrying the Banner

CUE: Segue as one from No. 2A "Prologue (Playoff)"

V# # 4 4 1 J œ n œ J œ J œ œ œj gar!You'llstealanoth

HENRY: 5 J œ n œ œj œj œ œj I'dsurprisemymoth 6 œj . œ U ‰ ¿j ¿ ¿ er.Ifyoucan

ALBERT: 7 ¿ n ¿ Œ J ¿ ¿ findher.Whoasked ALL NEWSIES:

ALBERT: Freely (RACE) 2 œj . œ # U ‰ œj œ œ er.Hey,look,it's SPECS: 3 J œ n œ J œ J œ œ œj bathtimeatthezoo. V # # 4 ˙ U ‰ œj œ œ Ithoughtthat

V# # 8 ¿ ŒÓ you?

ALBERT: Papesain’tmovin’liketheyusedto.Ineedanewsellin’spot.Gotanyideas? With lots of energy q=152 9 2

ROMEO: Well,hello,hello,hello,beautiful. JACK: Stepback,Romeo.Nothin'what

concernsyouhere.Morning,Miss.CanIinterestyouinthelatestnews? KATHERINE: Thepaperisn'toutyet. JACK: I'dbedelightedtobringittoyoupersonally.

KATHERINE: I’vegotaheadlineforyou:"CheekyBoyGetsNothingforHisTroubles!"

ROMEO: Backtothebench,slugger.Youstruckout. JACK: I'mcrushed.

FINCH: Hey,Crutchie.What'syourlegsay?Gonnarain? CRUTCHIE: Norain.Partlycloudy.Clearbyevening.

FINCH: Theyoughtabottlethisguy. RACE: Andthelimpsells fiftypapesaweekallbyitself. CRUTCHIE: Idon'tneedthelimptosellpapes.Igotpersonality.

CRUTCHIE, BUTTONS: JACK, SPLASHER, TOM:

NUN 1: Elmer,whenarewegoingto ELMER: Idon’tknow,Sistuh. seeyouinsidethechurch?Butit’sboundtorainsoonerorlater.

FINCH: Hey, look! They’re puttin’ up the headline.

SPECS: I hope it’s really bloody. With a nice clear picture.

(ELMER) Notagain! RACE: Threeweeksofthesamestory.

FINCH: They’rekillin’uswiththatsnoozer. MORRIS: Makeway.Stepaside.

RACE: Dearme,whatisthatunpleasantaroma?Ifearthesewermayhavebackedupduringthenight.

3

CRUTCHIE: Orcoulditbe... ALL NEWSIES: ...theDelanceybrothers.

Hey,Oscar,wordonthestreetsaysyouandyourbrothertookmoneytobeatupstrikingtrolleyworkers.

3

OSCAR: So?It'shonestwork. ALBERT: Butcrackin'theheadsofdefenselessworkers? OSCAR: Itakecareoftheguywhotakescareofme.

3

RACE: Ain'tyourfatheroneofthestrikers? OSCAR: Guesshedidn'ttakecareofme! MORRIS: Youwant someofthattoo?Yalousycrip! JACK: Nowthat'snotnice,Morris.

3

RACE: FivetooneJackskunks'em!

JACK: Oneunfortunateday,youmightfindyougotabumgamofyourown. How'dyoulikeuspickin'onyou?Maybeweshouldfindout.(distribution bells)

OSCAR: WaittillIgetmyhandsonyou. JACK: Yagottacatchmefirst.

Carrying the Banner (Tag)

(JACK) Thesunisup,theheadlinestinks,andthiskidain’tgettin’anyyounger!

#3A

Pulitzer Seitz Bunsen Hannah (Nunzio)

The Bottom Line

Warn: BUNSEN:Butwithoutflashyphotosorheadlines,how arewesupposedtosellmorepapers?

Cue: PULITZER:There'sananswerrightbeforeyour eyes

You’renotthinkingthisthrough.People... Breezy lite swing (q =140)

Nunzioknowswhenhe's

#4

BUNSEN: Buthowdoesthathelpussellmorepapers? HANNAH: Wedon’tsellpapers,silly.Newsiessellpapers.

BUNSEN: I’vegotit!Rightnowwechargethenewsiesfiftycentsforahundredpapers. PULITZER: Yes...

BUNSEN: Butifweraisedtheirpricetosixtycentsperhundred... PULITZER: Nowyou'regettingsomewhere...

SEITZ: Ameretenthofapennyperpaper. BUNSEN: Everysinglenewsiewouldhavetoselltwenty-five morepapersjusttoearnthesameamountasalways. PULITZER: Mythoughtexactly.It’sgenius.

It’sgoingtobe awfullyroughonthosechildren.

- out either bar]

Nonsense.I'mgivingthemareallifelesson ineconomics.Icouldn’t

(Davey) (Jack)

Carrying the Banner (Reprise)

CUE: Applause Segue from No. 4 "The Bottom Line"

DAVEY: Paper.Paper.Evenin'papehere. JACK: Sing'emtosleepwhydontcha?

#4A

Chase

(Les) (Snyder) (Jack) (Medda) #5

Warn: LES:Mom'sagreatcook.

Cue: JACK:Thanksfortheinvite,butIjustremembered Igotplanswithafella.He'sprobablywaitingonmerightnow.

TACET

Medda (Stage Manager)

Warn: STAGE MANAGER: Miss Medda, you're on!

Cue: MEDDA: Boys, lock the door and stay all night. You're with Medda now!

STAGE MANAGER: Ladies and gentlemen, please welcome the star of our show... Miss Medda Larkin!

MEDDA: Oh,honey,Iwas justtalkingaboutyou!

Bowery Beauties

Jack (Katherine) (Medda)

I Never Planned on You/ Don't Come a-Knocking

Cue: MEDDA: And now, gents, #6A

(MEDDA) let’s have a big hand for the Bowery Beauties!

Spike Jones meets Can-Can q=154

KATHERINE: This is a private box. JACK: Want I should lock the door?

4

(JACK) Twice in one day. Think it's fate? KATHERINE: Go away. I’m working. JACK: A working girl, huh? Doin' what?

8

KATHERINE: Reviewing the show for the New York Sun. JACK: Hey! I work for the World.

8

KATHERINE: Somewhere out there someone cares. Go tell them. JACK: The view’s better here.

8

KATHERINE: Pleasego.Iamnotinthehabitofspeakingtostrangers.

JACK: Thenyou’regonnamakealousyreporter. Thename’sJackKelly. KATHERINE: Isthatwhatit saysonyourrapsheet? 64

JACK: Asmartgirl.Iadmiresmartgirls. Beautiful.Smart.Independent. KATHERINE: Doyoumind!? [3x]

MEDDA: Yougotinforfree.Atleastpayattention. JACK:Sorry,Medda [VAMP]

What are you doing?

Quiet down. There's a show going on.

backanymore.

You are the most impossible boy—

To the Distribution Window

CUE: Segue as one from No. 6A "I Never Planned on You/Don't Come a-Knocking"

TACET

#6B

Jack Davey Les Crutchie Newsies (Guard)

The World Will Know

Cue: JACK:DowerolloverandletPulitzerpickourpockets, ordowestrike?

NEWSIES:Strike!!!

With great excitement h=92

#7

JACK: Youheardthevoiceofthemembership.TheNewsiesofLowerManhattanarenowofficiallyonstrike.

Whatnext? CRUTCHIE: Wouldn'tastrikebemoreeffectiveifsomeoneinchargeknewaboutit?

RACE: ItwouldbeapleasuretotellWeaselmyself.

JACK: Yeah?AndwhotellsPulitzer?Davey? DAVEY: Idon'tknow...Iguess...Youdo,Mr.President.

JACK: That'sright, we do! Whatdowetell'em?

Thenewspaperowners needtorespectyourrights asemployees.

JACK: That’sright.Wedotheworkso wegetasay. DAVEY: We'vegotaunion.

JACK: PulitzerandHearstgottarespect therightsoftheworkin'kidsofthiscity. DAVEY: Theycan’tjustchangetherules whentheyfeellikeit.

Theyneedtounderstandthatwe'renotenslavedtothem.We'refreeagents.

DAVEY: We’reaunionnow–theNewsboys'Union–andwemeanbusiness.

What’stostopsomeotherkidscomin’alongtosellourpapes?

ALBERT: Justlet'emtry! DAVEY: No!Wecan’tbeatuponotherkids.We’reallinthistogether.

JACK climbs to the chalkboard and writes "STRIKE" over the headline.)

(JACK, DAVEY, and LES enter the doors of the World Building. The NEWSIES wait in anticipation. Then the doors open and a GUARD throws JACK, DAVEY, and LES out.)

slams.) He got it. [GO ON] [VAMP] (cutoff either measure)

LES: You can tell Pulitzer that a few days into this strike, he’s gonna be beggin’ for an appointment to see me! You got that?

And stay out!

Davey Les (Katherine) (Jacobi)

The World Will Know (Reprise)

Warn: JACK:Youwantastory?...

Cue: MR. JACOBI:Let’sgo,boys,playoutside. Igottasetupfordinner.

A tempo ("World Will Know") h=98

(JACOBI) Igotpayin’customersneedthetables. FINCH: C’mon.Wegotnewsiestovisit.

4

C

RACE: Youwon’tbeshooin’usoffwhenwegetsourmugsinthepapes!

DAVEY: Comeon,Les.Thefolksarewaiting. KATHERINE: So,what’syourstory?Areyouselling newspaperstoworkyourwaythroughartschool? JACK: Artschool?Youkiddin’me?

Katherine (Jack)

Watch What Happens

Warn: KATHERINE: Good answer. Good night, Mr. Kelly.

Cue: JACK: Come on, where you runnin'? It ain't even supper time!

KATHERINE: I'll see you in the morning. And, off the record, good luck.

poco rit.

Solidly, with drive h=87 [VAMP] (cut immediately on cue)

#9

JACK: Hey, Plumber. Write it good. We both got a lot ridin' on you.

poco rit.

KATHERINE: You heard the man, “Write it good.” Write it good, or it’s back to wheezing your way through the flower show. No pressure. Let’s go. “Newsies Stop the World.” (OUT)

4

"With all eyes fixed on the trolley strike, there's another battle brewing in the city..."

4

A little hyperbole never hurt anyone. (on typing)

... and if I could just write about it... Come on, Katherine, the boys are counting on you. Oh, you poor boys.

(vox last x)

-practic'lywriteitself,and--

let’sprayitdoes,‘causeas

Ha!It’sacinch!Itcan

Imayhavementioned,Ihave

nocluewhat

I’mdoing.

-that,plusthescreamingof

whatI’vebeenwaitingfor!Well,

-hell...""Isthatevenlegal?"

girl?""That'sagirl!!Howthe

KATHERINE: “AmoderndayDavidispoisedtotakeontherichandpowerfulGoliath. Withtheswaggerofonetwicehisage,

6

armedwithnothingmorethanafewnuggetsoftruth,JackKellystandsreadytofacethebehemothPulitzer." Nowthat’showyouturnaboyintoalegend!

Orchestra (Davey)

Watch What Happens (Playoff)

CUE: Applause Segue as one from No. 9 "Watch What Happens"

TACET

#9A

Davey Jack Newsies Les (Wiesel) (Morris)

Seize the Day

Warn: DAVEY:Saysomething.Tellthemifwe backoffnowtheywillneverlistentousagain.

Cue: JACK:Wecan'tbackdownnow.

Gentle hymn, ca. q=92

(JACK) Nomatterwhodoesordoesn'tshow.Likeitornot,nowiswhenwetakeastand. FINCH: How’saboutwejustdon’tshowforwork?That'llsendamessage.

2

JACK: They’lljustreplaceus.Theyneedtoseewe’llstandourground.C'mon,Davey.Tell'em.

[sung somewhat freely]

CRUTCHIE: Hey,Jack.LookwhatImade!Good,huh?Strike! RACE: That’sgreat.That'spitiful.

LES: Don'tbesoquicktojudge.MaybePulitzerwillseethatouthiswindowandfeel sorryforus. JACK: Hey,Specs,anysignofreinforcements?

Moving a bit more q=96

JACK, DAVEY: RACE, CRUTCHIE:

WIESEL: Thesunisupandthebirdsissingin’.Abeautifuldaytocracksomeheads,ain’tit?

Steprightupandgetyourpapes. MORRIS: Youworkin’ortrespassin’.What'syourpleasure?

DAVEY: Whoarethey? JACK: Scabs.Whodoyouthink? FINCH: Iftheythinktheycanjustwaltzinhere andtakeourjobs– CRUTCHIE: Wecanhandlethem! ROMEO: Let’ssoak‘em,boys! FINCH: Yeah!Let’sget‘em!

Weallstandtogetherorwedon’thaveachance!Jack! JACK: Allright.Iknow.Ihearya.Listen,fellas... Iknowsomebodyputyisuptothis.Probablypaidyasomeextramoneytoo.Yeah?Well,itain’tright.

VJACK: Pulitzerthinkswe’regutterratswithnorespectfornothin’includin’eachother. Isthatwhoweare?Well,westabeachotherinthebackand,yeah,that’swhoweare.

VButifwestandtogether,wecanchangethewholegame.Anditain’tjustaboutus.Allacrossthecitythere areboysandgirlswhooughttobeoutplayin’orgoingtoschool.Insteadthey’reslavin’to

supportthemselvesandtheirfolks.Ain’tnocrimetobein’poor,andnotaoneofuscomplainsifthe workwedoishard.Allweaskisasquaredeal.

Fellas...Forthesakeofallthekidsineverysweatshop,factory,andslaughterhouse inthistown,Ibegyou...throwdownyourpapersandjointhestrike. LES: Please?

I'mwithya.

SCAB 3: You'rekidding,right? SCAB 2: Attheendofthedaywhoareyougonnatrust?Them...orthem?

SCAB 3: Oh...whatthehell?Mefather'sgonnakillmeanyway! (All cheer.)

rest of the NEWSIES save LES, chase off the DELANCEYS and celebrate.)

Seize the Day (Tag)

CUE: Applause Segue as one from No. 10 "Seize the Day"

VVone (they fade out ad lib. as they see DELANCEYS and GOONS)

#10A

(Wiesel) (Jack) (Romeo) (Snyder) (Crutchie) (Delanceys)

The Fight

TACET

CUE: Slow Segue as one from No. 10A "Seize the Day (Tag)"

Santa Fe Jack #12

CUE: Segue as one from No. 11 "The Fight"

fin'llygota Driving Vamp (vocal on cue) (last x)

Orchestra (Jacobi)

TACET

King of New York

Warn: RACE:Yourerster!Yourerster!

Cue: RACE:Yadon'tneedmoneywhenyou'refamous

(RACE) Theygivesyawhateveryawant gratis! HENRY: Suchas...? Hard, energetic swing (q= 172)

CUE: Applause Segue from No. 13 "King of New York"

Crutchie (Snyder) #14

Letter from The Refuge

Cue: CRUTCHIE:“DearJack.

Freely, tentative at first (ca. h=69)

(CRUTCHIE) GreetingsfromTheRefuge!

Letter from The Refuge (Playoff)

CUE: Applause Segue from No. 14 "Letter from The Refuge"

TACET

#14A

Orchestra (Jack) (Davey)

Jack's Painting

TACET

Warn: DAVEY: It's what I been trying to tell you: we want to hold a rally –

Cue: JACK: Want to see a place I seen? How about this? [Reveals painting]

#14B

Davey Jack Les Katherine

Watch What Happens (Reprise)

CUE: Segue as one from No. 14B "Jack's Painting"

#15

CUE: Applause Segue from No. 15 "Watch What Happens (Reprise)"

TACET

Pulitzer Seitz Bunsen (Delanceys)

The Bottom Line (Reprise)

Warn: PULITZER:...lockedupinTheRefuge.

Cue: PULITZER:...Daveyandhisbabybrother, rippedfromtheirlovingfamilyandtossedtotherats?

and freely

(PULITZER) Willthey everbeableto thankyouenough?

(mostly spoken)

Gentlemen,escortourguesttothecellar sohemightreflectinsolitude.

#16

VMORRIS: Webeengivendiscretiontohandleyouasweseefit,sobehave.

OSCAR: But,justincase,Ibeenpolishin’myfavoritebrassknuckles. MORRIS: Youcansleeprighthereonthisoldprintingpress.Nowthatthereisfirm. Slowly

3

Brooklyn’s Here

Orchestra (Katherine)

To the Rooftop

Cue: JACK: I say we take the deal. Go back to work knowing that our price is secure. All we need to do is vote “NO” on the strike. Vote “NO”! [Booing.]

TACET

#17A

Katherine Jack

Something to Believe In

Warn: JACK:AndIdon'twantyoupromisin'nothin' yougottatakebacklater.

Cue: JACK:Butstandingheretonightlookin’atyou... I’mscaredtomorrow’sgonna

(JACK) comeandchangeeverything.IftherewasawayIcouldgrabholdof Gently, poco rubato

#18

somethingtomaketimestop.Justso’sIcouldkeeplookingatyou. KATHERINE: Yousnuckuponme,JackKelly.

JACK: Forsure? KATHERINE: Forsure.

JACK: Ifthingsweredifferent... KATHERINE: Ifyouweren’tgoingtoSantaFe?

JACK: Andifyouweren’tanheiress.Andifyourfatherwasn’taftermyhead.

KATHERINE: You’renotreallyscaredofmyfather.

JACK: No.ButI’mprettyscaredofyou! KATHERINE: Don’tbe.

Seize the Day (Reprise)

CUE: Direct Segue from No. 18 "Something to Believe In"

#19

KATHERINE: I'll get the lights. You get those windows unlocked.

Jack Davey Katherine Newsies

Warn: JACK:Ain'tthatsomethin'?

Once and for All

Cue: DARCY:Alittlegreaseandshe'llbegoodasgold.

#20

DAVEY: Allright.Here'showit'llwork:asweprintthepapes,Race,you'llletthefellasin,andthey'll Gently, poco rubato

# C 1 4

# 5 4 spreadthemtoeveryworkin'kidinNewYork.Afterthat...? JACK: Afterthatit'suptothem.

Steady rock ballad

KATHERINE: "InthewordsofunionleaderJackKelly,'Wewillworkwithyou.Wewillevenworkforyou. Butwewillbepaidandtreatedasvaluablemembersofyourorganizations.'”

Rivetingstuff,huh? JACK: Getgoing.You'vegotaveryimportantmantosee.

KATHERINE: Keepyourfingerscrossed. JACK: Forus,too.

Once and for All (Playoff)

CUE: Applause Segue from No. 20 "Once and for All"

TACET

Seize the Day (Reprise 2)

Warn: DAVEY:What'sthatmakeyou?

Cue: JACK:Justthesmartstosnatchtherightonewhenhehearsit.

#20B

SPOT: Havealookoutthere,Mr.Pulitzer.Incaseyouain'tfigureditout...(dialogue cont'd)

7

CUTOFF Warn: ROOSEVELT: ComealongJoseph... CUTOFF Cue: ...happinessyou'llbringthosechildren.

Finale Ultimo (Part 1) Company #21

Warn: [JACK spits in his hand]

Cue: JACK:Justthepriceofdoin'business.

JACK: AndnowI’dliketointroducemyownpersonalpal,GovernorTheodoreRoosevelthimself!!!

ROOSEVELT: Eachgenerationmust,attheheight ofitspower,stepasideandinvitethe youngtosharetheday.

Youhavelaidclaimtoourworldand Ibelievethefuture,inyourhands,willbe brightandprosperous.

Andyourdrawings,son,havebroughtanothermattertobear.Officers,ifyouplease.

NEWSIES: Crutchie![adlibs] CRUTCHIE: Hiya,fellas.Youmissme?

RACE: It'sSnydertheSpider!

MUSH: Heain'tlookin'sotoughnomore,ishe?

RACE: Heylookit,Jack. It'sCrutchie!

ROOSEVELT: Jack,withthosedrawingsyoumade aneloquentargumentforshuttingdownTheRefuge.

BeassuredthatMr.Snyder’sabuseswillbefullyinvestigated.Officer,takehimaway.

CRUTCHIE: Please,YourHighness...mayIdothehonors?

Freely but not slowly

SNYDER: You'vegottobejoking.

CRUTCHIE: Andyou'llbelaughingallthewaytothepen,“littleman.”Solong,sucker!

JACK: Thank you, Governor. PULITZER: I can’t help thinking... if one of your drawings convinced the Governor to close The Refuge, what might a daily

Steadily, ca. q=116

political cartoon do to expose the dealings in our own government back rooms? What do you say, Teddy? Care to have this young man’s artistry shine a lantern behind your closed doors?

JACK: Don’t sweat it, Gov. With the strike settled, I probably should be hitting the road.

DAVEY: Don’t you ever get tired of singing that same old tune? What’s Santa Fe got that New York ain’t? Sand storms? KATHERINE: Better yet: what’s New York got that Santa Fe ain’t?

WIESEL: Papes for the newsies. Line up, boys. These papes ain't gonna sell themselves. Freely but not slowly

CRUTCHIE: New York’s got us. And we’re family. PULITZER: Didn't I hear something about the strike being settled?

MEDDA: Come along, Governor, and show me the back seat I’ve been hearing so much about.

KATHERINE: Well, don't just stand there, you've got a union to run.

Besides, didn't someone just offer you a pretty exciting job? JACK: Me work for your father?

3

Steadily, somewhat slower

KATHERINE: You already work for my father. JACK: Oh, yeah. KATHERINE: And you’ve got one more ace up your sleeve.

4

JACK: What would that be? KATHERINE: Me. Wherever you go, I’m there right by your side.

For sure?

For sure.

3

[SEGUE AS ONE]

Finale Ultimo (Part 2) Company

#22

CUE: Applause Segue from No. 21A "Finale Ultimo (Part 2)"

TACET

CUE: Applause Segue from No. 22 "Bows"

Exit Music

TACET

#23

NEWSIES

Music Credits and Copyrights

Music by Alan Menken

Lyrics by Jack Feldman

1. Overtureˆ

2. Santa Fe (Prologue)

2A. Prologue (Playoff)†

3. Carrying the Banner

3A. Carrying the Banner (Tag) º

4. The Bottom Line*

4A. Carrying the Banner (Reprise)º

5. Chase†

6. That’s Rich*

6A. I Never Planned on You / Don’t Come a-Knocking*

6B. To the Distribution Window†

7. The World Will Know

8. The World Will Know (Reprise) º

Watch What Happens*

Watch What Happens (Playoff)†

Seize the Day#

Seize the Day (Tag)

The Fight†

Entr’acte†

King of New York

King of New York (Tag)†

Letter from The Refuge˜

Letter from The Refuge (Playoff)†

Jack’s Painting†

Watch What Happens (Reprise)*

Back to Pulitzer’s Office"

The Bottom Line

Ultimo (Part 2)

Bows†

Exit Music†

©1992, 2012 Camp Songs Music (BMI) / Wonderland Music Company, Inc. (BMI). All rights reserved.

ˆ ©1992, 2012 Menken Music (BMI) / Wonderland Music Company, Inc. (BMI). All rights reserved.

* ©2012 Menken Music (BMI) / Camp Songs Music (BMI), administered by Wonderland Music Company, Inc. (BMI). All rights reserved.

# ©1992, 2012 Menken Music (BMI) / Camp Songs Music (BMI) / Wonderland Music Company, Inc. (BMI) All rights reserved.

† ©1992, 2017 Menken Music (BMI) / Wonderland Music Company, Inc. (BMI). All rights reserved.

º ©1992, 2017 Camp Song Music (BMI) / Wonderland Music Company, Inc. (BMI). All rights reserved.

˜ ©2017 Menken Music (BMI) / Camp Songs Music (BMI), administered by Wonderland Music Company, Inc. All rights reserved.

" ©2017 Menken Music (BMI) / Wonderland Music Company, Inc. (BMI) All rights reserved.

! ©1992, 2017 Menken Music (BMI) / Camp Songs Music (BMI) / Wonderland Music Company, Inc. (BMI) All rights reserved.

Orchestrations by Danny Troob

Copyist Services provided by Anixter Rice Music Service NYC

Should you find it necessary to mark cues or cuts, use a soft black lead pencil only.