NEWSIES

REVISIONS:
1st Blue 3/11/91

2nd Pink 3/28/91
3rd Yellow 4/08/91
4th Green 4/10/91
5th Goldenrod 4/12/91
6th Buff 4/12/91 (PM)
7th Salmon 4/18/91
8th Cherry 4/19/91
9th Tan 4/22/91
10th Grey 4/25/91
11th Ivory 4/26/91
12th Blue (2) 5/1/91
13th Pink (2) 5/8/91
14th Yellow (2) 5/10/91
15th Green (2) 5/15/91
NEWSIES
A Musical Feature Film
Written by
Bob Tzudiker and Noni White
Rewrites by
David Fallon and Tom Rickman
Original Song Score by

Alan Menken and Jack Feldman
Property of:
WALT DISNEY PICTURES

500 South Buena Vista St.
Burbank, CA 91505
(818) 560-1000
Tom Rickman FIRST DRAFT
- REVISED
May 15, 1991
4/8/91 YELLOW *
NEWSIES
FADE IN:
1 INT. THE NEW YORK WORLD - PRESS ROOM - MORNING 1

The huge printing PRESSES POUND out the morning edition,
setting a rhythm that carries us through the scene as the
newspapers are printed, collated, folded, and spit out
onto a rapidly-growing stack.
Pressmen bundle the papers and toss them into carts. See
the masthead: "THE NEW YORK WORLD, JULY 10, 1899."
Two men push hard a cart loaded with papers to get it

rolling down an iron ramp -- then have to run to keep up
with it as it careens toward --
2 INT. THE WORLD - CIRCULATION ROOM - MORNING (SAME TIME) 2

Broad-necked workmen grab the carts and begin unloading
them -- stacks of paper grow as the POUNDING RHYTHM BUILDS
and we GO TO --
3 INT. NEWSIE LODGING HOUSE - SAME TIME 3

A man's feet move up some stairs (in rhythm) -- they
belong to KLOPPMAN, 70s, who enters --
4 INT. NEWSIE LODGING HOUSE - DORMITORY - SAME TIME 4

A large room filled with boys sleeping in hammocks,
including JACK KELLY, snapping his fingers in his sleep.
On the wall by his head, the commanding visage of Teddy
Roosevelt grins down from a rotogravure photo. Kloppman
wakes the boys, intoning his morning ritual:
KLOPPMAN
Ink's wet, the presses are rolling,
the papers are stacking -- rise
and shine, make a dime, no news
without the Newsies -- etc.
Jack jumps out of his bunk and shakes the BOY below.
JACK
Wake up, Crutchy -- The World is
waitin'.
(CONTINUED)
4/8/91 YELLOW 2. *
4 CONTINUED: 4
CRUTCHY
(yawning)
Tell Mr. Pulitzer my yacht was
lost at sea.
Jack laughs and tosses him his crutch. The dorm is now
alive with waking boys -- yawning, stretching, pulling
on pants, hitching up suspenders as they sing --
SONG: "CARRYIN' THE BANNER" (Approx. 7 minutes, 15
seconds)
RACETRACK
THAT'S MY CIGAR...
SNIPESHOOTER
YOU'LL STEAL ANUDDER.
The boys begin to wake, KID BLINK
yawning, stretching, HEY BUMMERS, WE GOT WORK TO DO
complaining as they hit
the floor: pants pulled SPECS
on, suspenders hitched SINCE WHEN DID YOU BECOME
up, boots laced tight. MY MUDDER?
CRUTCHY
AH, STOP YOUR BAWLIN'
ALL
WHO AST YOU!
MUSH, cross-eyed and skinny with big ears and lisp, play-
fully pushes the NEWSIE so he falls on his hammock.
NEWSIE
Hey, whattaya?
5 INT. WASHROOM - MINUTES LATER 5

Younger boys pump water for older boys, then trade off.
Teeth brushing, sponge baths with cold water -- the older
boys shave. Jack smears his face with shaving cream as
Mush pulls up a box next to him.
MUSH
How'd you sleep, Jack?
JACK
On me back, Mush.
(CONTINUED)
4/8/91 YELLOW 3.
5 CONTINUED: 5
MUSH
(thinks that's
hilarious)
You hear that, you hear what he
said? I ast how'd he sleep --
CRUTCHY
Jack, this look like I'm fakin'
it?
He hobbles towards Jack on one crutch.
JACK
Who says you're fakin' it?
CRUTCHY
The streets are fulla fakes these
days -- it's hurtin' the rep of
genuine articles like myself. I
gotta find me a new sellin' spot,
where they ain't used to seein'
me.
Jack smiles; Mush taps
Crutchy on the arm... sings.
MUSH
TRY BOTTLE ALLEY OR THE HARBOR
RACETRACK
TRY CENTRAL PARK IT'S GUARANTEED
JACK
TRY ANY BANKER, BUM OR BARBER
Jack rinses his face, takes SKITTERY *
special care adjusting his THEY ALMOST ALL KNOWS HOW TO
red bandana. READ
KID BLINK
I SMELL MONEY
CRUTCHY
YOU SMELL FOUL
MUSH
MET THIS GIRL LAST NIGHT *
CRUTCHY
MOVE YOUR ELBOW
(CONTINUED)
4/8/91 YELLOW 4. *
5 CONTINUED: (2) 5
RACETRACK
PASS THE TOWEL
SKITTERY
FOR A BUCK I MIGHT
CHORUS
AIN'T IT A FINE LIFE
CARRYING THE BANNER
THROUGH IT ALL
6 INT. LODGING HOUSE - FRONT DESK - LATER 6

Jack and the Newsies coming CHORUS
down the stairs, greeting A MIGHTY FINE LIFE
Kloppman and moving out the CARRYING THE BANNER
door -- TOUGH 'N' TALL
EVERY MORNING
WE GO WHERE WE WISHES
WE'S FREE AS FISHES
SURE BEATS WASHING DISHES
WHAT A FINE LIFE
7 EXT. NEWSIE LODGING HOUSE - SAME TIME 7

Jack stands next to Crutchy CHORUS
and Mush as the boys file CARRYING THE BANNER
out. HOME-FREE ALL
JACK
(looks at the
morning)
What's your leg say, Crutch?
Feel like rain?
CRUTCHY
(feels his leg;
shakes his head)
No rain -- partly cloudy, clearin'
towards evenin'.
(as Jack laughs)
Who ya sellin' wit, Jack?
JACK
Ain't decided yet.
Jack spots a passing wagon and helps Crutchy on board --
he and Mush jump on for the ride and they all move off --
8 OMITTED 8
4/8/91 YELLOW 5.
9 EXT. DAVID'S APARTMENT - MORNING 9 *

DAVID JACOBS, 15, hurries down the street as his brother,
LES, 8, dawdles after him.
DAVID
Les, hurry up, willya? Why do I
gotta be saddled with you?
LES
Why do I gotta be saddled with
you?
DAVID
Come on -- They'll run out of
papers!
10 EXT. NEIGHBORHOOD STREET - MORNING 10

KID BLINK, 16, one eye covered by a patch, moves past a
fruit stand with three of his boys. He's about to swipe
a banana when the shadow of a cop on horseback looms over
him. Blink smiles up at the COP.
KID BLINK
'Mornin', Officer.
OFFICER (COP)
I'm keepin' my eye on you, Blink.
KID BLINK
And I'll keep my eye on you, too,
sir.
OFFICER
Get moving!
Blink and the boys race into an alley --
11 EXT. ANOTHER STREET - POLICY SHOP - SAME TIME 11 *
A boy's hand shoots some dice -- it belongs to RACETRACK *

HIGGINS, an Italian beanpole, who's gambling with THREE
OTHER BOYS.
RACETRACK
AIN'T THEY AS PRETTY AS A
PITCH'A
(CONTINUED)
)O( 4/25/91 GREY 6.
11 CONTINUED: 11
SNODDY
Race picks up his THAT MAKES IT TEN GAMES OUT
winnings and admires OF TEN
the pile of change in
his hand. RACETRACK
A PLEASURE DOING BUSINESS
WICH'YA
WHO WANTS TO TRY THEIR LUCK
AGAIN?
BOOTS
I'm wiped out -- my mother'll
murder me -- if I had one.
The wagon passes -- Jack, Mush and Crutchy get out.
RACETRACK
Jack -- whattaya know, whattaya
say. Got a hot tip on a nag in
the fourth at Sheepshead -- sure *
t'ing! *
JACK
Your last sure t'ing's still *
runnin', Racetrack. *
MUSH
(the world's best
audience)
Ya hear that? Race says sure t'ing *
and Jack says -- ya hear what he *
said, ya hear it, he said -- *
BOOTS/CRUTCHY *
(together) *
We heard it! *
12 EXT. ANOTHER STREET - SAME TIME 12

David still hurrying -- Les slows to hop on a hopscotch
game chalked on the sidewalk. David grabs his hand and
pulls him on --
12A EXT. NEIGHBORHOOD STREET - SAME TIME 12A
Kid Blink and his boys come out of an alley, joining Jack
and the others.
KID BLINK
Say, Cowboy -- I hear Medda's
breakin' in a new act at the
vaudeville tonight -- ya
interested?
(CONTINUED)
4/8/91 YELLOW 7. *
12A CONTINUED: 12A

JACK
Stupid question.
CRUTCHY
Stupid question.
KID BLINK
That an echo? Or is the Crip
followin' ya again?
CRUTCHY
(swinging his
crutch)
Yeah? How'd you like it if a
crip cracked your head?
JACK
Better choke it, Blink -- 'fore
you need another patch.
KID BLINK
Hey, who ya sellin' wit, Jack?
CRUTCHY
Not wit you!
JACK
Nothing personal, Blink, but...
JACK
IT TAKES A SMILE AS SWEET
AS BUTTER
CRUTCHY
THE KIND THAT LADIES CAN'T
As Jack sings, the boys RESIST
listen carefully. They
all respect his opinion. RACETRACK
IT TAKES AN ORPHAN WITH A
STUTTER
JACK
WHO AIN'T AFRAID TO USE HIS...
KID BLINK
... FIST
13 EXT. BARREL ALLEY - SAME TIME 13
Jack and the others ALL BOYS

round a corner SUMMER STINKS AND WINTER'S
singing as they move WAITIN'
through an alley filled WELCOME TO NEW YAWK
with barrels.
4/8/91 YELLOW 8.
14 EXT. OFF NEWSIE SQUARE - SAME TIME 14

They enter the square ALL
singing. BOY, AIN'T NATURE
FASCINATIN'
WHEN YOUSE GOTTA WALK
(ROUNDS) *
They move towards a STILL IT'S A FINE LIFE
breakfast wagon run by CARRYIN' THE BANNER
three NUNS. WITH ME CHUMS
A MIGHTY FINE LIFE
BLOWIN' EVERY NICKEL
AS IT COMES
At the breakfast wagon, CRUTCHY
the boys line up for I'M NO SNOOZER
coffee -- Blink tries to SITTIN' MAKES ME ANTSY
butt in front of Jack, I LIKES LIVIN' CHANCEY
who spins him back to Race,
who spins him further back ALL
as Crutchy and Mush jump HARLEM TO DELANCEY
in and Blink ends up WHAT A FINE LIFE
last. BOOTS ARBUS, 15, CARRYING THE BANNER
black, joins the line. THROUGH THE SLUMS -- *
ONE NUN ladles coffee from NUNS

a large pot into the boys' BLESSED CHILDREN
cups; the OTHER NUN hands THOUGH YOU WANDER LOST
them each a roll. AND DEPRAVED
JESUS LOVES YOU
YOU SHALL BE SAVED
BOOTS
How 'bout savin' me another roll
-- okay, sister?
GUTTERSNIPE *
(shoves him)
Hey! Save some for the rest of
us!
The Nun smiles and gives them both one.
SEARCHING MOTHER
is singing as she looks for her lost son in the crowd

around the wagon. Jack and the others sing in counter-
point as she passes by.
(CONTINUED)
)J( 4/22/91 TAN 9.
14 CONTINUED: 14
MOTHER RACETRACK
PATRICK, JUST GIMME HALF A CUP
DARLING...
KID BLINK
SOMETHING TO WAKE ME UP
MUSH
SINCE YOU LEFT ME I GOTTA FIND AN ANGLE
CRUTCHY
I AM UNDONE I GOTTA SELL MORE PAPES
ALL
MOTHER PAPERS IS ALL I GOT
LOVES YOU WISH I COULD CATCH A BREEZE
SURE HOPE THE HEADLINE'S HOT
GOD ALL I CAN CATCH IS FLEAS
SAVE GOD HELP ME IF IT'S NOT
MY SON SOMEBODY HELP ME PL --
15 EXT. NEWSIE SQUARE - SAME TIME 15

PULL BACK to reveal ALL
entire square as Jack and IF I HATE THE HEADLINE
the gang leave the wagon, I'LL MAKE UP A HEADLINE
cross the square and head AND I'LL SAY ANYTHING I HAFTA
for the gates of The World 'CAUSE AT TWO FOR A PENNY
Building, keeping their IF I TAKE TOO MANY
eyes on the huge blackboards WEASEL JUST MAKES ME EAT 'EM
over the street. AFTA
Newsies of all ages and sizes appear from every conceiv-
able space and line up outside the gates, waiting for
them to open, anxiously praying for a good headline to be
chalked on the boards overhead...
16 EXT. NEWSPAPER ROW - SAME TIME 16

Two men climb ladders to the blackboards above the street
and start to write out headlines in chalk: "TROLLEY
STRIKE DRAGS ON FOR THIRD WEEK."
17 EXT. ALLEY/OFF NEWSIE SQUARE - SAME TIME 17 *
A GROUP of NEWSIES follow through an alley that leads *

them to the square, where they see the men chalking up *
headlines.
(CONTINUED)
)J( 4/22/91 TAN 10.
17 CONTINUED: 17
NEWSIE GROUP #1 NEWSIE GROUP #2
LOOK! THEY'RE PUTTING WHAT'S IT SAY?
UP THE HEADLINE
YOU CALL THAT A HEADLINE? THAT WON'T PLAY
I GET BETTER STORIES SO WHERE'S
FROM THE COPPER ON THE YOUR SPOT?
BEAT
18 EXT. NEWSIE SQUARE - SAME TIME 18 *
A GROUP OF NEWSIES cross the street and split up around *

the statue as they walk into the square -- *
NEWSIE GROUP #1 NEWSIE GROUP #2

I WAS GONNA START WITH GOD IT'S HOT!
TWENTY
BUT A DOZEN'LL BE PLENTY WILL YA TELL ME
HOW'S A GUY GONNA HOW'M I GONNA MAKE ENDS
MAKE ENDS MEET? MEET?
19 EXT. NEWSIE SQUARE AND WORLD BUILDING - SAME TIME 19

Jack and the gang join ALL
Newsies as they WE NEED A GOOD ASSASSINATION
converge outside The World
gates, singing and yelling WE NEED AN EARTHQUAKE OR A
at the men on the chalkboard. WAR
One newsie yells out: SNIPESHOOTER
HOW 'BOUT A CROOKED POLITICIAN?
Mush jumps all over him: ALL
HEY, STUPID, THAT AIN'T NEWS
NO MORE!
The Newsies sing at each other:
ALL
UPTOWN TO GRAND CENTRAL
STATION
DOWN TO CITY HALL
WE IMPROVES OUR CIRCULATION
WALKIN' 'TIL WE FALL
The Newsies line up outside the gate, singing:
JACK'S GROUP NEWSIE GROUP #1

SO WE'LL BE OUT THERE DID YOU HEAR ABOUT THE
HEADLINE?
(MORE) (MORE)
(CONTINUED)
4/8/91 YELLOW 11. *
19 CONTINUED: 19
JACK'S GROUP (CONT'D) NEWSIE GROUP #1 (CONT'D)
THEY CALL THAT A HEADLINE?
CARRYING THE BANNER MAN THE IDIOT WHAT WROTE IT
TO MAN MUST BE WORKIN' FOR THE SUN
WE'LL BE OUT THERE DID YOU HEAR ABOUT THE FIRE
SOAKIN' EVERY SUCKER
THAT WE CAN NEWSIE GROUP #2
HEARD IT KILLED OL' MAN MCGUIRE
NEWSIE GROUP #1
HEARD THE TOLL WAS EVEN HIGHER
NEWSIE GROUP #2
WHY DO I MISS ALL THE FUN?
NEWSIE GROUP #1
SEE THE HEADLINE HITCHED IT ON A TROLLEY
NEWSIE GROUP #2
NEWSIES ON A MISSION MEET'CHA FORTY-FOURTH AND
SECOND...
NEWSIE GROUP #1
KILL THE COMPETITION LITTLE ITALY'S A SECRET
NEWSIE GROUP #2
SELL THE NEXT EDITION BLEEKER'S FURTHER THAN I
RECKONED
NEWSIE GROUP #1
WHILE WE'RE OUT THERE BY THE COURTHOUSE
NEWSIE GROUP #2
NEAR THE STABLES
NEWSIE GROUP #1
ON THE CORNER
CARRYIN' THE BANNER IS SOMEONE BECKONED AND I...
THE...
ANGLE - NEAR GATES

Suddenly the music becomes a quiet pulse as the DELANCEY
BROTHERS -- OSCAR and MORRIS, two muscle-bound goons --
push with deliberate aggression past Jack and the boys.
Tension, silence, then --
RACETRACK
(sniffs the air)
Dear me. What is dat unpleasant
aroma? I fear de sewer has backed
up during de night.
(CONTINUED)
4/8/91 YELLOW 12. *
19 CONTINUED: (2) 19
BOOTS
Too rotten to be the sewer. It
must be --
CRUTCHY
-- the Delancey brothers!
For revenge, Oscar jerks Snipeshooter out of line and

propels him to the rear.
OSCAR
Inna back, ya ugly little shrimp!
Oscar and Morris glare at the crowd, daring anyone to do
anything about it. Jack calmly walks Snipe back to his
place in line, then faces the Delanceys who try to stare
him down. The air is electric. Nearby --
RACETRACK
Five to one, I say Cowboy skunks
'em -- who's bettin', who's
bettin' --
The Newsies shake their heads. Nearby the staring
contest continues until --
JACK
You shouldn't be callin' people
ugly little shrimps. Oscar. Unless
you're referrin; to the family
resemblance in your brother here.
The brothers glower, look at each other, then back at
Jack, who grins at them.
JACK
That's right. It's an insult.
And so's this --
Jack deftly reaches out both hands and flips the derbys
off both their heads. The brothers scramble for them
and the chase is on.
19A EXT. NEWSIE SQUARE - DAY (SAME TIME) 19A
DANCE BREAK... The Delanceys chase Jack throughout the

square, entertaining the Newsies... a morning tradition.
The Newsies sing in counterpoint, underscoring the chase.
JACK'S GROUP NEWSIE GROUP

IT'S A FINE LIFE LOOK! THEY'RE PUTTING UP
THE HEADLINE
(CONTINUED)
4/8/91 YELLOW 13.
19A CONTINUED: 19A

CARRYIN' THE BANNER YOU CALL THAT A HEADLINE?
THROUGH IT ALL *
A MIGHTY FINE LIFE I GET BETTER STORIES FROM

THE COPPER ON THE BEAT
CARRYIN' THE BANNER I WAS GONNA START WITH TWENTY

TOUGH 'N' TALL
BUT A DOZEN'LL BE PLENTY
WILL YOU TELL ME HOW'M I

EVER GONNA MAKE ENDS MEET?
NEWSIE GROUP #1 *
SEE THE HEADLINE? HITCHED IT ON A TROLLEY.
NEWSIE GROUP #2 *
NEWSIES ON A MISSION MEET'CHA FORTY-FOURTH
AND SECOND...
NEWSIE GROUP #1 *
KILL THE COMPETITION! LITTLE ITALY'S A SECRET.
NEWSIE GROUP #2 *
SELL THE NEXT EDITION BLEEKER'S FURTHER THAN I
RECKONED
NEWSIE GROUP #1 *
WHILE WE'RE OUT THERE BY THE COURTHOUSE...
NEWSIE GROUP #2 *
CARRYIN' THE BANNER IS NEAR THE STABLES...
THE...
NEWSIE GROUP #1 *
ON THE CORNER...
SOMEONE BECKONED AND I...

ANGLE - HORACE GREELY STATUE - DAVID AND LES
are just arriving, hurrying towards the gates on a

collision course with -- Jack who comes barrelling around
the statue and runs smack into David. For a moment,
everything stops -- Jack catches his breath, David looks
at him in outrage.
DAVID
Watch it, willya? What do you
think you're doing!
JACK
(breathing hard)
Runnin'.
(CONTINUED)
4/8/91 YELLOW 14.
19A CONTINUED: (2) 19A

He speeds on -- just as the Delanceys come thundering
around the statue, bowling David to the pavement. Les
looks at Jack as if he's watching Robin Hood and Br'er
Rabbit rolled into one.
ANGLE - NEAR GATES - JACK
keeps running, keeping just out of the Delanceys' grasp

-- but then he trips and they've got him. Morris lifts
him high into the air to smash him onto the cobblestones.
The crowd stops breathing -- but then --
19B EXT. WORLD BUILDING GATE - DAY 19B
Jack grabs the bars and like a monkey jerks free of the
bully's grasp. The kids howl, loving the show as Jack
avoids the brothers moving from bar to bar like Tarzan.
*
JACK'S GROUP NEWSIE GROUP *
IT'S A FINE LIFE GO GET HIM, COWBOY!
CARRYIN' THE BANNER YOU GOT HIM NOW, BOY! *
IT'S A FINE LIFE GO GET HIM, COWBOY! *

CARRYIN' THE BANNER YOU GOT HIM NOW, BOY!
NEWSIE GROUP *
GO! *
The NUMBER ENDS (APPROXIMATE TIME: 7:15) and the moment
is broken when a BELL inside the World Building RINGS
OUT. *
MUSH *
Comin' down de chute!
The Delancey brothers, reluctantly, give up the chase,

and back towards the entrance to the World gates.
MORRIS
We ain't finished with you
yet, Kelly.
The gatekeeper unlocks and swings open the huge gates. *
Jack hangs on.
BOOTS
Ride 'em, cowboy!
Newsies yell out Jack's name as he rides the gates 'til

the last possible moment, then leaps into the back of a
wagon. Jack takes a bow as the boys cheer, moving into
line.
Les watches Jack, his new hero, as David pulls him along.
4/8/91 YELLOW 15.
20 EXT. CIRCULATION OFFICE - LOADING DOCK - SAME TIME 20

Newsies jostle for position at the window -- David
shoving and jostling like the rest. He manages to elbow
in near the front. Les, hanging back, has his eyes on --
-- Jack sauntering coolly to his natural place at the
head of the line, flanked by Boots and Mush. He leans
on the counter and grins at the rodent-faced man inside
the window: WEASEL, 40.
JACK
Ya miss me, Weasel?
WEASEL
You know my name -- it's Weisel.
Mister Weisel to you. How many?
JACK
Don't rush me -- I'm perusin' *
the mercandice... Mr. Weasel. *
The Newsies love it as Jack deliberately takes a paper,
turns and scans. Seeing Les staring at him, Jack winks.
Les smiles back, fascinated. Jack turns back to Weasel
with a fifty-cent piece.
JACK
The usual.
Weasel grabs for the coin -- Jack flips it out of his *
grasp and onto the counter. The Newsies whoop.
WEASEL
Hundred for the wiseguy -- next! *
Oscar slams the papers down and Jack gives them a quick *
flip-count -- eyes closed -- as he moves away. Behind *
him, Race and the others get their papers. *
*
JACK
scans the newspaper for a catchy headline; Race, Crutchy,
the others wander up, doing the same. A commotion O.S.
and they look up to see --
-- at the window, Weasel is in David's face. *
WEASEL
Ya got ya papes -- move outta here. *
DAVID
I paid for twenty -- you only gave *
me nineteen!
(CONTINUED)
4/8/91 YELLOW 16.
20 CONTINUED: 20
WEASEL
(loving it)
You callin' me a liar, kid...?
David's sweating, aware that all eyes are on him. *
DAVID
I want that other paper.
The Delanceys start for David when suddenly Jack steps *
up, slams his hand on David's papers, closes his eyes *
and does a flip-count. The expert. *
JACK
Nineteen, Weasel. An honest
mistake -- on account of Oscar *
can't count to twenty with his *
shoes on. *
Weasel glowers -- but wants to get back to business. He
backhands Morris who looks surprised.
WEASEL
Next!
JACK
Hold it. Race -- spot me two-bits.
Race flips him a coin. Jack slaps it on the counter.
JACK
Another fifty for my friend here.
DAVID
I don't want another fifty -- !
JACK
(moving away)
Sure you do. Every newsie wants
more papes.
David, puzzled, grabs the papers and he and Les run

after Jack --
21 EXT. NEWSIE SQUARE - JUST OUTSIDE GATES 21
Jack moves on as David and Les hurry after him. The gang
trails along, watching, amused.
DAVID
These papers are yours, I don't *
take charity from nobody! I don't *
even know who you are --
(CONTINUED)
4/8/91 YELLOW 17.
21 CONTINUED: 21
LES
Cowboy! They call him Cowboy!
Jack turns, grins at Les.

JACK
That and a lotta other things --
including Jack Kelly, which is
what my mudder called me. What
do they call you, kid?
LES
(thrilled)
Les. This is David, he's my
brother. He's older.
JACK
(barely glances
at David)
No kiddin'. How old are you,
Les?
LES
Near ten.
JACK
No good. Anybody asks, you're
seven.
(as Les is appalled)
Younger sells more papes, Les --
and if we're gonna be partners --
DAVID
Hold it! Who said anything about
partners -- ?
JACK
You owe me two bits, right? Okay,
so I consider it an investment.
We sell together, split 70-30, plus
you get the benefit of observin'
me -- no charge.
CRUTCHY
(to David)
You're gettin' the chance of a
lifetime here -- you learn from
Jack, you learn from the best.
DAVID
If he's the best, then why does
he need us?
(CONTINUED)
4/8/91 YELLOW 18.
JACK
I don't need you, pal. But I ain't *
got a cute little brother to front *
for me. And Les here... *
(smiles down at Les
who smiles back up
angelically)
... With this kid's puss and my
God-given talent, we can easy
move a thousand papers a week.
Whattaya say? Deal?
David is incredulous, but Les is pleading. David sighs.

DAVID
Gotta split fifty-fifty.
JACK
Sixty-forty. Or I forget the whole
t'ing.
David reluctantly offers his hand. Jack spits in his
palm and shakes. Les whoops and they move off, Jack
already being the mentor --
JACK
The name of the game is volume, Dave.
You only took twenty papes -- why?
DAVID
Bad headline...?
JACK
First t'ing you gotta learn --
headlines don't sell papes, newsies
sell papes. We're what holds this
town together -- without newsies,
nobody knows nuttin'!
They move away from Newsie Square as above them, the
GOLDEN DOME OF THE WORLD BUILDING glistens in the morning
sun.
22 INT. WORLD BUILDING - PULITZER'S OFFICE - DAY 22
A very large magnifying glass in in the hands of someone

O.S. -- it moves across the front page of today's World
as we hear the headline being read by --
PULITZER (O.S.)
(reading sarcastically)
'Trolley Strike Drags On for
Third Week' -- this so-called
headline drags on for infinity!
(CONTINUED)
4/8/91 YELLOW 19. *
22 CONTINUED: 22
A hand smashes the paper onto an ornate desk beyond which
cower three harried employees of The World, including
SEITZ, 45, the hard-bitten business manager. BUNSEN, the
editor, and JONATHAN, an accountant.
SEITZ
The news is slow, Chief, the
Trolley Strike's all we got --
PULITZER (O.S.)
It's all Mr. William Randolph
Hearst has, too -- see how he
covers the strike!
The magnifying glass swings to a copy of the New York
Journal with a large black headline: "NUDE CORPSE ON
RAILS -- NOT CONNECTED TO TROLLEY STRIKE." The CAMERA
COMES AROUND to reveal JOSEPH PULITZER, himself, a
thundering presence in smoked-glasses and a beard,
wielding the magnifying glass like a gavel of judgment.
PULITZER
Hearst is killing us in the
circulation war -- and you give
me headlines that would put a
whirling dervish to sleep!
BUNSEN
(nervous editor)
We'll get a new headline writer,
Mr. Pulitzer.
PULITZER
Steal Hearst's man -- offer him
double what Hearst pays.
SEITZ
That's how he stole him from us.
(sighs)
Chief, you spend as much as you
make fighting Hearst. That's why
the paper's losing money --
PULITZER
I created the World to be the best
and I'll spend whatever it takes
to --
(stops)
What is that deafening noise?
It's the Newsies far below, barely audible to the others.
SEITZ
Just the Newsies, Chief, I'll --
(CONTINUED)
4/8/91 YELLOW 20.
PULITZER
Never mind -- where was I? *
SEITZ
Creating the World, Chief. *
PULITZER
This paper's losing money because
there's too much fat, inefficiency
-- not because I'm fighting to *
make us number one! Well, we're
going to cut costs, maximize
profits -- and still beat the
socks off Hearst --
(beat)
I want to know how by tonight.
23 EXT. LOWER EAST SIDE STREET - DAY 23

UNDERSCORED: Jack leads David and Les through an open-
air market crowded with carts and people -- all the
sights and sounds and smells of the melting pot.
JACK
Some newsies got corners, see --
same spot, same customers. Me, *
I like to keep moving, enjoy the
life of the big city. I spot an
opportunity, I sell a pape.
That's the advantage of being an
independent businessman, instead *
of workin' for wages. *
David sees TWO LOVERS kissing on the steps of a building

-- he tries his luck.
DAVID
Paper, mister?
Without breaking the kiss, the man kicks out at David
who jumps away. Shaking his head, Jack whispers
something to Les, who rushes over to the Lovers, still
kissing.
LES
(earsplitting shout)
Extry -- 'Runaway Carriage Crushes
Cop!'
The Lovers spring apart -- the man looks like he's going
to throttle Les, but --
(CONTINUED)
4/12/91 (PM) BUFF 21. *
23 CONTINUED: 23
WOMAN (LOVER)
(cooing)
Oh, honey... look at that sweet
little lamb...
David, watching with Jack, can't believe this. Les comes
running back waving a coin --
LES
He gimme a dime! He said I should
go far away and keep the change!
Jack takes the dime; Les's face falls. He flips it back.

JACK
You're a natural, kid. You remind
me of me -- and I can't say greater
than that.
24 OMITTED 24
25 EXT. SIDEWALK - BARE-KNUCKLED BOXERS - DAY 25

duke it out as sidewalk spectators watch. The boys work
the crowd, each in his own style --
DAVID
(the rookie)
Extra, 'Trolley strike drags on!'
JACK
(the master)
Nextry, nextry -- 'Ellis Island in
flames -- big con-fla-gration!'
DAVID
What -- ? Where's that story -- ?
JACK
(making sales)
Page nine -- thank you, sir.
Nextry, 'Thousands flee in panic -- '
DAVID
(on page nine)
'Trash fire near immigration
building frightens seagulls -- ?'
JACK
'Terrified flight from flaming
inferno!' Thank you, much obliged --
(CONTINUED)
)J( 4/22/91 TAN 22. *
25 CONTINUED: (A1) 25
David is incredulous -- then sees Les by the boxers
moving up to a spectator, assuming a pathetic look.
LES
Buy me last pape, mista...?
He coughs, Camille-like. Makes the sale. Down the

sidewalk Jack nods approvingly; David is disgusted.
DAVID
Our father taught us not to lie.
JACK
Mine taught me not to starve.
So we both got an education.
DAVID
You just make things up -- like
those headlines.
JACK
I don't do nothin' the guys who
write this stuff don't do. It
ain't lyin' -- it's just improvin'
the truth a little.
Les comes running back, wiping his mouth, with a
quarter.
LES
The guy gave me a quarter! Quick,
gimme some more last papers!
DAVID
(grabs him)
Hold it -- I smell beer!
LES
The guy bet me I wouldn't drink
some -- that's how I made the
quarter!
JACK
Hey, no drinkin' on the job --
it's bad for business. What if
somebody called a cop or somethin'?
Les' eyes go wide as he sees -- behind Jack -- a burly

Irish cop (MacSWAIN) hurrying up with a cadaverous vul-
ture of a man, SNYDER, who's pointing straight at them --
(CONTINUED)
4/8/91 YELLOW 23. *
25 CONTINUED: 25
SYNDER
There he is, officer -- do your
duty!
Jack spins, sees the man --
JACK
Beat it -- the bulls!
He races off. David, confused, races after him, Les
looks very worried as he runs with David --
LES
Just for one little sip of beer -- ?
Snyder and MacSwain in pursuit as Jack leads them into --
26 EXT. BLINDMAN'S ALLEY - CONTINUOUS ACTION 26

The boys pound down the alley, Snyder and MacSwain round
the corner behind them, Snyder shouting --
SNYDER
You, Sullivan! Stop, I say! You
hear me, Sullivan?
DAVID
Who's Sullivan -- ?
JACK
Mistaken identity -- all micks
look alike to these birds!
LES
(still worried)
One sip! I didn't even swallow
it!
Jack leads them into the doorway of --
A26A INT. TENEMENT BUILDING - CONTINUOUS ACTION A26A

They clatter up flights of stairs -- Snyder and MacSwain
clattering up below them, shouting --
SNYDER
You young miscreant! Wait'll
I get you back to the Refuge!
DAVID
The Refuge -- ?
(CONTINUED)
4/8/91 YELLOW 24. *
A26A CONTINUED: A26A

JACK
Sleeper!
He leaps over a Sleeping Man on the stairwell; so do

David and Les as they run out onto --
B26A EXT. TENEMENT ROOFS - CONTINUOUS ACTION B26A

More sleepers; people living in makeshift shelters.
Jack runs to a plank stretched between two buildings.
DAVID
I'm not crossing that! Anyway,
I don't think they're chasing us --
Jack scoops up Les -- who's loving it -- and carries

him across the plank.
JACK
No? What're they doin' then?
DAVID
I think they're chasing you!
Snyder and MacSwain huff out onto the roof. David,
still uncertain, looks back at them -- the runs across
the plank. Jack calmly topples the plank to the street
as the pursuers reach it, gasping for breath -- he gives
Snyder a little salute, then moves on to a rooftop exit --
26A EXT. ANOTHER STREET (NEAR THEATER) - SECONDS LATER 26A
The boys run out of a doorway onto the street; Jack

stops, looks around carefully, as if expecting Snyder to
come bounding out of the sky. David is bursting with
suspicion -- starts to say something, but Jack shushes
him, leads them quickly, furtively into --
26B EXT. ALLEY BEHIND THEATER (IRVING HALL) - DAY 26B

Jack runs to a side door and opens it, waving David and
Les inside. He follows, giving a quick look around
before he closes the door.
26C INT. THEATER - BACKSTAGE 26C
MUSIC lilting somewhere -- for a moment we don't know

we're in a theater, as the boys huddle against a wall,
catching their breath.
(CONTINUED)
)R( 5/8/91 - PINK (2) 25.
26C CONTINUED: 26C

DAVID
I want some answers -- Why was he
chasing you? What's the Refuge?
JACK
The Refuge is this jail for kids.
That guy, Snyder, he's the warden.
LES
You were in jail...? Why?
JACK
I was starvin'. I stole some food.
DAVID
(suspicious)
Right, food. He called you
'Sullivan' --
JACK
(bridling)
Yeah, food. My name's Kelly, Jack
Kelly, like I told you. Think I'm
lyin'?
DAVID
You have a way of 'improving the
truth.' Why was he chasing you?
JACK
Because I escaped.
LES
(awestruck)
Oh, boy. How?
JACK
This big shot gimme a ride out in
his carriage.
DAVID
(sarcastic)
Bet it was the mayor, right?
JACK
Nah. Teddy Roosevelt. Ever heard
of him?
David starts to reply when he sees something behind Jack *
that makes his mouth drop open. At the top of a short *
flight of stairs, a vision is frowning down at them, *
speaking in a theatrical Swedish accent. *
(CONTINUED)
)R( 5/8/91 - PINK (2) 26. *
26C CONTINUED: (2) 26C

MEDDA
(accent)
What is the meaning of this? No
one is allowed backstage -- you
will leave at once! Out, out,
out, out --
She descends the stairs grandly, shooing them away like

pigeons. Jack turns to her and grins.
JACK
You wouldn't kick me out without
a kiss goodbye, wouldya, Medda?
Surprised, she gasps in delight -- throwing her arms
around Jack. David can't believe it. Medda's accent
quickly disappears.
MEDDA
Kelly, where've you been, kid?
I miss you up in the balcony --
you know I sing all my songs to
you.
JACK
This is David and Les. And this
is the greatest star of the
vaudeville stage today, Miss
Medda Larkson, the Swedish
Meadowlark.
MEDDA
(accent)
Welcome!
JACK
Medda also owns the joint.
MEDDA
(no accent; to David)
Don't ever own a theater, kid.
Don't even think about it.
DAVID
(awed)
I won't. I promise.
MEDDA
(seeing Les)
What have we here -- ? Aren't you
the cutest little fella that ever
was -- yes, you are --
(CONTINUED)
)R( 5/8/91 - PINK (2) 26A.
26C CONTINUED: (A3) 26C

LES
(into his act)
Buy my last pape, lady?
A Camille-cough. Medda looks at him critically.
MEDDA
This kid is good. Speaking as one
professional to another, I'd say
you got a future.
JACK
Okay if we hang here awhile, Medda?
'Til a little problem outside goes
away?
MEDDA
As long as you like -- now the
lark must warble. Hey, you --
(flags down a passing
candy butcher)
-- give my guests whatever they
want.
(CONTINUED)
)P( 5/1/91 BLUE (2) 27. *
26C CONTINUED: (3) 26C

She winks at the dazzled boys and hits the stage,
singing:
MEDDA
(singing)
'MY LOVEY-DOVEY BABY'... etc.
David and Jack can't take their eyes off her; Les can't
take his eyes off the candy butcher's tray...
27 OMITTED 27
thru thru
33 33
34 EXT. NEIGHBORHOOD STREET - NIGHT 34

Les is looking green from all the candy as he follows
Jack and David, balancing on trolley tracks. In the
distance, the FAINT sound of SHOUTING/SINGING.
DAVID
It's late, my folks'll be worried
... What about yours?
JACK
They're out west lookin' for a
place for us to live --
(takes something
from his pocket)
-- like this.
It's the cover of a dime novel with a blue-perfect sky
over a perfect yellow desert; a large red sun shines
down on a perfect adobe.
JACK
That's Sante Fe -- out in New
Mexico? Soon's Pop finds us the
right ranch, they're sendin' for
me.
LES
(sleepily)
Then you'll be a real cowboy...
Jack nods quietly. David looks at Jack, not believing a

word of what he's saying; seeing how much he wants it to
be true... The SINGING grows LOUDER, the haunting
refrain of "Seize The Day," as the boys continue --
4/8/91 YELLOW 28. *
35 EXT. ANOTHER STREET (AROUND CORNER) - NIGHT 35

Down the street, a trolley is in flames, surrounded by a
mob of shouting men. David looks at it nervously.
DAVID
Why don't we divvy up at my
place...? You can meet my folks...
The mob is chasing two men towards them, screaming --

MOB
Scabs! Soak the scabs! Etc.
A conductor with a bloody head and terrified face runs

past them -- but conductor two is caught, tackled,
beaten -- David pulls Les away --
DAVID
Jack -- let's get outta here -- !
The boys move away, Jack looking back at the beating.
JACK
Maybe tomorrow we get a decent
headline.
36 OMITTED 36
37 INT. DAVID'S APARTMENT - NIGHT 37

The boys enter, Jack carrying the sleeping Les. ESTHER,
38, is setting the table.
ESTHER
(seeing Les)
My God...! What happened?
DAVID
He's just sleeping, Momma --
She quickly takes him from Jack. MAYER, 43, is relieved

but angry to see his sons -- his right arm is bandaged.
MAYER
We've been waiting dinner --
where've you been?
David says nothing; crosses to the table and dumps the
day's receipts on it, looks up at his father proudly.
MAYER
You made all this selling papers...?
(CONTINUED)
4/8/91 YELLOW 29. *
37 CONTINUED: 37
DAVID
Half of it's Jack's -- he's our
selling partner. And our friend.
This is my parents.
Jack nods awkwardly, starts to say something when SARAH,
16, enters from another room with an armload of lace
piecework. She's beautiful -- Jack becomes instantly
tongue-tied.
DAVID
That's Sarah. My sister.
She smiles -- Jack still can't find his tongue. Mayer,
seeing his awkwardness, steps in --
MAYER
Esther -- maybe David's partner
would like to stay for dinner.
Add some more water to the soup.
ESTHER
(mortified)
Mayer...!
Mayer laughs, joined by Sarah and David -- and finally
Esther herself as she waters the soup. Jack stands
drinking in the family's warmth.
38 INT. APARTMENT - LATER 38

Les mumbles in his sleep on a board stretched between
two chairs. Jack, eating heartily, his eloquence
regained, holds forth at the dinner table.
JACK
What I saw today, I gotta say your
boys are born Newsies, Mr. Jacobs.
With my experience and their hard
work -- just a little more, thanks --
(third bowl of soup)
-- I figure we can peddle a
thousand a week and not break a
sweat.
MAYER
That many...?
JACK
More when the headline's good.
SARAH
What makes a headline good?
(CONTINUED)
4/8/91 YELLOW 30. *
38 CONTINUED: 38
JACK
Catchy words -- like, uh, 'corpse'
or 'maniac,' or, let's see, 'love
nest' or 'nude' --
Sarah and David giggle; Esther looks shocked.
JACK
(embarrassed)
'Scuse the language there, uh,
maybe I'm talkin' too much...
MAYER
(laughing)
You talk fine, Jack -- Sarah, get
that cake your mother's been
hiding in the cabinet!
ESTHER
That's for your birthday tomorrow!
MAYER
I've had enough birthdays! This
is a celebration!
David leaps up to fetch silver; Sarah gets a luscious
chocolate cake from a cabinet --
DAVID
It's only the beginning -- the
longer I work, the more I'll make --
MAYER
You work only until I go back to
the factory! Then you go back to
school, like you promised.
All activity stops, an awkward silence. Mayer looks at

his bandaged hand.
MAYER
It will heal... they'll give me
back my job... I'll make them...
Jack sees how worried the family is. No one seems able
to speak, then --
LES
(in his sleep)
'Gimme all ya got, baby...'
The family is shocked -- except for Jack and David, who

sputter into laughter. The celebration is restored --
Jack digs into an enormous slab of cake, looking around
at the smiling faces, for the moment feeling he
belongs...
)P( 5/1/91 BLUE (2) 31.
39 EXT. OUTSIDE APARTMENT - FIRE ESCAPE - LATER 39

Jack and David talk; the family visible inside.
JACK
How'd your pop get hurt?
DAVID
The factory. An accident.
(bitterly)
He's no good to them anymore so
they just fired him. He's got no
union to protect him.
Inside, Esther is singing a lullaby to Les; Mayer calls

out to David.
MAYER
David? Time to come in now.
Jack looks in at the warm family tableau: the lullaby,
Sarah reading to Mayer. David, going in, sees his
friend's expression.
DAVID
Why don't you stay here tonight...?
JACK
I got my own place... but thanks. *
Your family's real nice, Dave. *
(beat) *
Like mine. *
David nods, climbs in the window. *
DAVID
See you tomorrow. Carryin' the
banner.
JACK
(smiles)
Carryin' the banner.
Jack watches as David rejoins the family inside, the

warmth, the casual intimacy. He moves off, singing:
SONG: "SANTE FE": 3:06
JACK
SO THAT'S WHAT THEY CALL A
FAMILY
MOTHER, DAUGHTER; FATHER, SON
GUESS THAT EVERYTHING YOU HEARD
ABOUT IS TRUE
(MORE)
(CONTINUED)
4/8/91 YELLOW 32.
39 CONTINUED: 39
JACK (CONT'D)
SO YOU AIN'T GOT ANY FAMILY
WELL WHO SAID YOU NEEDED ONE
AIN'T YOU GLAD NOBODY'S WAITING
Jack starts down UP FOR YOU?
the fire escape to
the alley below. WHEN I DREAM
ON MY OWN
I'M ALONE, BUT I AIN'T LONELY
FOR A DREAMER
NIGHT'S THE ONLY TIME OF DAY
WHEN THE CITY'S FINALLY
SLEEPIN'
ALL MY THOUGHTS BEGIN TO STRAY
AND I'M ON THE TRAIN
THAT'S BOUND FOR SANTA FE...
40 EXT. DAVID'S BUILDING - ALLEY - NIGHT 40

JACK
AND I'M FREE
LIKE THE WIND
Still singing, LIKE I'M GONNA LIVE FOREVER
Jack drops off the fire IT'S A FEELING TIME
escape into the alley; CAN NEVER TAKE AWAY
moves to the sidewalk ALL I NEED'S A FEW MORE DOLLARS
and walks off. AND I'M OUTTA HERE TO STAY
DREAMS COME TRUE
YES, THEY DO
IN SANTA FE
41 EXT. NEIGHBORHOOD STREETS - SAME TIME 41

Jack walks the streets, JACK
past people cooling WHERE DOES IT SAY
in the night air, YOU GOTTA LIVE AND DIE HERE?
outside their hot WHERE DOES IT SAY
tenements. A GUY CAN'T CATCH A BREAK?
WHY SHOULD YOU ONLY TAKE
WHAT YOU'RE GIVEN?
WHY SHOULD YOU SPEND
YOUR WHOLE LIFE LIVIN'
TRAPPED WHERE THERE AIN'T NO
FUT'CHA
EVEN AT 17
BREAKIN' YOUR BACK
FOR SOMEONE ELSE'S SAKE
IF THE LIFE DOESN'T SEEM TO
SUIT YA
(MORE)
(CONTINUED)
4/19/91 CHERRY 33.
41 CONTINUED: 41
JACK (CONT'D)
HOW 'BOUT A CHANGE OF SCENE
FAR FROM THE LOUSY HEADLINES
AND THE DEADLINES IN BETWEEN
SANTA FE
ARE YOU THERE
DO YOU SWEAR YOU WON'T FORGET
ME?
IF I FOUND YOU
WOULD YOU LET ME COME AND STAY?
I AIN'T GETTING ANY YOUNGER
AND BEFORE MY DYING DAY
I WANT SPACE
NOT JUST AIR
LET 'EM LAUGH IN MY FACE I
DON'T CARE
SAVE A PLACE
I'LL BE THERE...
SO THAT'S WHAT THEY CALL A
Jack sees two cops FAMILY
coming and instinc- AIN'T YA GLAD YOU AIN'T THAT
tively hides in the WAY?
shadows, finishing AIN'T YA GLAD YOU GOT A DREAM
the song in the dark. CALLED SANTA FE...?
42 EXT. NEWSIES LODGING HOUSE - SAME NIGHT 42

Jack approaches the entrance as Racetrack comes down the
sidewalk.
JACK
How'd it go at the track, Race?
RACETRACK
That hot tip I told you about?
Nobody told the horse.
They smile and continue into --
43 INT. LODGING HOUSE - LOBBY - CONTINUOUS ACTION 43
Jack and Race pay Kloppman for the night.
KLOPPMAN
You missed your supper, boys.
RACETRACK
Then we didn't miss much, did we? *
(CONTINUED)
4/8/91 YELLOW 34. *
43 CONTINUED: 43
JACK
I ate, Mr. Kloppman, I...
(sounds strange to
say it)
... I was dinin' with a family.
Race and Kloppman exchange looks as Jack moves on --
44 OMITTED 44
44A INT. LODGING HOUSE - WASHROOM - CONTINUOUS ACTION 44A

Jack enters the empty room and walks past a row of wash
basins to the last one. He reaches beneath it, dislodges
a brick and removes a small box. In the box is a tin
Prince Albert Tobacco can -- Jack puts today's take
inside it. Then he removes --
-- a photograph: faded, dog-eared. Against a Coney
Island western backdrop, fake cactus, fake fence, a
smiling man and woman beam down at a small boy in a
cowboy hat -- it's Jack, about Les's age, with his
parents. Jack sits hunched under the basin, alone,
staring at it...
44B OMITTED 44B
45 INT. PULITZER'S OFFICE - NIGHT 45

Pulitzer in his shirt-sleeves glowers impatiently as a
prim 1899-vintage numbers cruncher -- JONATHAN -- deliv-
ers the bottom line with charts, graphs, etc. Seitz
lounges, yawning.
JONATHAN
Actual income, as well as
projected income, against actual
operating costs, as well as
projected operating costs, produce
a reduced marginality of profit
which in turn --
PULITZER
Seitz! What in blazes is he talking
about?
SEITZ
Says you need to make more money,
Chief.
(CONTINUED)
4/8/91 YELLOW 35. *
45 CONTINUED: 45
PULITZER
Of course I need to make more money!
But how do I make more money, you
bloodless blot?
JONATHAN
(unflappable)
I have several proposals. The
first is to increase the paper's
price --
PULITZER
Then Hearst undersells me and I'm
in the poorhouse. Brilliant.
JONATHAN
Not the customer price -- the
price to the distribution
apparatus.
Exasperated, Pulitzer looks to Seitz for a translation.
SEITZ
You mean the Newsies...? Charge
the Newsies more for their papers?
Bad idea, Chief.
JONATHAN
Very well. My next proposal --
salary cuts, particularly those
at the very top --
PULITZER
Wait. What do the Newsies pay
now -- fifty cents per hundred
papers? If you raised it to
sixty cents --
JONATHAN
A mere tenth of a cent per paper --
PULITZER
-- then that, multiplied by forty
thousand papers a day, seven days
a week -- well, it would pay some
of the bills around here.
SEITZ
Chief, if you do this, every
Newsie we got will head straight
for Hearst.
(CONTINUED)
)P( 5/1/91 BLUE (2) 36.
PULITZER
Not necessarily. As newspapermen,
Hearst and I would cut each other's
throats to get the best of the
other. But as businessmen -- and
gentlemen -- we often agree on
ways to keep down certain operating
costs. If I know Willie Hearst,
he's going to wish he thought of
this himself.
SEITZ
What about the other papers -- ?
PULITZER
If we do it, they'll all do it.
It's only a tenth of a cent --
nobody gets hurt! It's good for
the Newsies -- an incentive, make
'em work harder, sell more papers!
Now get me Hearst on that
contraption.
Seitz sighs and reaches for the phone.
46 EXT. NEWSIE SQUARE - MORNING 46

Jack bounces into the square, still basking in the glow
of last night. He looks up to the chalkboard and sees
the headline: "BLOODY BEATINGS IN TROLLEY STRIKE!"
He grins, gives the high-sign -- a very salable headline.
He moves on to --
46A EXT. LOADING DOCK/CIRCULATION WINDOW - MORNING 46A
Something's wrong -- angry shouts, arms waving. Puzzled,

Jack shoves through the angry Newsies to --
KID BLINK
They jacked up the price! Ten
cents a hunnerd -- I can eat two *
days on ten cents! *
SKITTERY *
This'll bust me -- I'm barely *
makin' a livin' now -- *
BOOTSY *
I'll be back sleepin' on *
the streets -- *
(CONTINUED)
)P( 5/1/91 BLUE (2) 37. *
46A CONTINUED: 46A

MUSH
It don't make no sense!
All the money Pulitzer
makes, why would he gouge us?
Jack sees Weasel behind his window, grinning.
JACK
Awright, pipe down! Don't you
see it's a gag? Just Weasel bein'
a weasel. Joke's over, Wease.
Gimme a hunnerd.
He plops fifty cents on the counter. Weasel's grin
gets weaselier as he slides it back.
WEASEL
Hunnerd'll cost ya sixty, Cowboy.
JACK
I ain't payin' no sixty --
WEASEL
Then move outta the way --
JACK
You bet -- I move right over to
the Journal.
RACETRACK
It's the same at the Journal -- we
checked -- it's the same everywhere!
JACK
Why the jack-up, Weasel?
WEASEL
Why not? It's a nice day. Why
don't you ast Mr. Pulitzer?
He whacks the bell with his cudgel; the Delanceys
stir threateningly.
WEASEL
If you ain't buyin' papes, clear
out! World employees only on
this sida the gates.
JACK
It stinks here anyway -- let's go!
He leads the angry Newsies out of the courtyard into --
47 OMITTED 47
)P( 5/1/91 BLUE (2) 38.
48 EXT. NEWSIE SQUARE - CONTINUOUS ACTION 48

The angry boys crowd around Jack.
KID BLINK
They can't do that to us --
RACETRACK
They can do what they want --
it's their stinkin' paper --
BOOTS
Ain't we got no rights -- ?
CRUTCHY
Sure -- we got the right
to take it in the t'roat!
RACETRACK
It's a rigged deck -- why
waste time kiddin' ourselves?
They set the price, we gotta
pay it --
MUSH
We got no choice! So let's
get our lousy papes while
they still got some --
JACK
Nobody's goin' anywhere -- they
ain't gonna get away with this!
EVERYBODY
What can we do -- (etc.)
LES
Stop crowding him! Let him think!
They back off, become quiet -- every eye on Jack as he

thinks. And thinks again. And again. Finally --
RACETRACK
(tentatively)
Jack...? Ya still thinkin'... ? *
Jack looks at him, then the others: his jaw set.
JACK
One thing for sure. If we don't
sell papes, then nobody sells papes.
Nobody comes through those gates
'til they put the price back where
it was.
(CONTINUED)
)P( 5/1/91 BLUE (2) 39. *
48 CONTINUED: 48
DAVID
You mean like a strike...?
JACK
Yeah, a strike -- good idea, Dave.
DAVID
(alarmed)
No, I didn't mean -- we can't
strike, we're not a union --
JACK
We go on strike, we're a union,
right? Keep it comin', Dave --
Jack's moving across the square, everyone following,

cheering, a momentum building. David moves with him --
DAVID
(pleading)
There's not enough of us -- maybe
if we got every Newsie in New York --
JACK
Yeah, we organize -- we get all
the New York Newsies to join us!
This is great, Dave, keep talkin' --
DAVID
It's no joke! You saw what
happened to those trolley workers --
JACK
Another great idea! Any Newsie
don't join with us, we soak 'im
-- just like the trolley workers!
DAVID
Nooo! Stop and think, willya? You
can't just rush everybody into
this!
The gang is cheering every word; Jack stops at the base

of the Greeley statue, holds up his hands for quiet.
JACK
Dave's right again! We gotta think
this through! Old man Pulitzer and
Hearst and all them other rich
geezers, they run this city. Do we
really think a buncha streetrats
like us would have a chance against
people like them?
(MORE)
(CONTINUED)
)P( 5/1/91 BLUE (2) 40. *
JACK (CONT'D)
The choice has gotta be yours --
are we gonna just take what they
give us? Or do we strike?
The Newsies are silent, faltering, suddenly uncertain.
Then a small figure steps forward and raises his fist:
LES
Strike!
The boys explode -- a beat begins to build --

BOOTS
Keep talkin', Jack -- tell us
what to do --
Jack looks desperately at David: what do I say now?

DAVID
Uh... uh... Pulitzer and Hearst
have to respect our rights --
JACK
Pulitzer and Hearst have to respect
the workin' boys of New York!
(to David)
Keep it comin' -- what else.
DAVID
Uh... they can't treat us like
we don't exist...
SONG: "THE WORLD WILL KNOW" APPROXIMATE TIME: 3:30.
JACK
PULITZER AND HEARST
THEY THINK WE'RE NOTHING
ARE WE NOTHING?
NEWSIE
NO!
DAVID
If we stick together like the
trolley workers, they can't break
us up.
JACK
PULITZER AND HEARST
THEY THINK THEY GOT US
DO THEY GOT US?
NEWSIES
NO!
(CONTINUED)
4/8/91 YELLOW 41.
DAVID
It's like a union. The Newsboy's
Union. Are we really a union...?
JACK
EVEN THOUGH WE AIN'T
GOT HATS OR BADGES
WE'RE A UNION JUST BY
SAYING SO...
AND THE WORLD WILL KNOW
BOOTS
What's to stop someone else from
sellin' our papes?
JACK
We talk to 'em.
RACETRACK
Some of 'em don't hear so good.
JACK
Then we soak 'em.
DAVID
No!
JACK
WHAT'S IT GONNA TAKE
TO STOP THE WAGONS?
ARE WE READY?
NEWSIES
YEAH!
DAVID
No! We can't beat up kids in the
street! It'll destroy what we're
trying to do!
JACK
WHAT'S IT GONNA TAKE
Jack's not listening now. TO STOP THE SCABBERS?
CAN WE DO IT?
NEWSIES
YEAH!
JACK
WE'LL DO WHAT WE GOTTA DO
UNTIL WE BREAK THE WILL
OF MIGHTY BILL AND JOE
(CONTINUED)
4/8/91 YELLOW 42.
ALL *
AND THE JOURNAL TOO *
MR. HEARST AND PULITZER *
HAVE WE GOT NEWS FOR YOU
NOW THE WORLD WILL HEAR
WHAT WE'VE GOT TO SAY
WE BEEN HAWKIN' HEADLINES
BUT WE'RE MAKIN' 'EM TODAY
AND OUR RANKS WILL GROW
Crutchy hobbles forward,
raising his crutch. CRUTCHY
AND WE'LL KICK THEIR REAR
ALL *
THAT WE'VE BEEN...
Jack jumps down from the
statue. JACK
... HERE!
*
He jumps onto the back of a wagon.
JACK
WHEN THE CIRCULATION BELL
Two wagonloads of nervous STARTS RINGING
Newsies come through the WILL WE HEAR IT?
gate. Some leap off and
join the strikers -- most NEWSIES
stay on the wagon. NO!
JACK
WHAT IF THE DELANCEYS
COME OUT SWINGING
WILL WE HEAR IT?
NEWSIES
NO!
JACK
WHEN YA GOT A HUNDRED VOICES
SINGING, WHO CAN
HEAR A LOUSY WHISTLE BLOW?
EVERYBODY
Race, Mush and Kid Blink ALL *

leap onto the wagon with THAT THIS AIN'T NO GAME
baskets of rotten fruit. THAT WE GOT A TON OF ROTTEN
singing as a trio. FRUIT AND PERFECT AIM.
(MORE)
(CONTINUED)
4/8/91 YELLOW 43. *
ALL (CONT'D)
Jack steps forward. SO THEY GAVE THEIR WORD
Boots angrily throws a
piece of rotten fruit
toward The World Building. BUT IT AIN'T WORTH BEANS
NOW THEY'RE GONNA SEE WHAT

STOP THE PRESSES REALLY
MEANS
AND THE DAY HAS COME

AND THE TIME IS NOW
AND THE FEAR IS GONE
Boots, apprehensive, looks
up at Jack in the wagon. BOOTS
AND OUR NAME IS MUD
ALL
AND THE STRIKE IS ON
BOOTS
AND I CAN'T STAND BLOOD
ALL
AND THE WORLD WILL...
JACK
Jack and the others jump PULITZER MAY OWN THE
down from the wagon and with WORLD BUT HE DON'T OWN US!
David and Les following,
move across the square. ALL
PULITZER MAY OWN THE
WORLD BUT HE DON'T OWN US!
JACK
PULITZER MAY CRACK THE WHIP
BUT HE WON'T WHIP US!
The Newsies answer back. ALL
PULITZER MAY CRACK THE WHIP
BUT HE WON'T WHIP US!
Crossing the square, as ALL
they move towards the gates, AND THE WORLD WILL KNOW
singing up to Pulitzer's AND THE WORLD WILL LEARN
office in the dome at the AND THE WORLD WILL WONDER
top of The World Building. HOW WE MADE THE TABLES TURN
(CONTINUED)
)P( 5/1/91 BLUE (2) 44.
ALL
AND THE WORLD WILL SEE
The Delanceys close the THAT WE HAD TO CHOOSE
gates as Weasel glares out THAT THE THINGS WE DO TODAY
from the dock. WILL BE TOMORROW'S NEWS
ALL
AND THE OLD WILL FALL
The Newsies interlock arms AND THE YOUNG STAND TALL
forming a chain of AND THE TIME IS NOW
resistance and solidarity. AND THE WINDS WILL BLOW
AND OUR RANKS WILL GROW AND
GROW AND GROW AND SO
THE WORLD WILL FEEL THE
FIRE AND FIN'LLY KNOW!
Jack, excited by his power, is in full charge now.

JACK
We gotta get word out to all the *
Newsies in New York! I gotta have *
some... whattaya call 'em --
DAVID
Ambassadors.
JACK
Right! You guys gotta be embastards
and tell 'em we're on strike!
KID BLINK
I'll take Harlem!
RACETRACK
I got mid-town! CRUTCHY
The Bronx! MUSH
I'll get da Bowery!
JACK
Bumlet, Specs, Skittery take
Queens; Pie Eater and Snotty,
the East side -- Snipeshooter,
go with 'em; okay, who wants
Brooklyn? Spot Conlon's
territory?
Suddenly they all look like they've got something else

to do.
JACK
Whatsamatter? Scared of Brooklyn?
(CONTINUED)
)O( 4/25/91 GREY 45. *
BOOTS
We ain't scared of Brooklyn. But
Spot Conlon makes us a little
nervous.
JACK
Well, he don't make me nervous.
You and me, Boots, we take
Brooklyn. Dave can keep us
company. Okay, Dave?
David looks up; Jack grins, challenging him. David comes

right back at him.
DAVID
Sure. Right after you take our
demands to Pulitzer.
JACK
(grin fades)
Me?
(looks up at the
dome)
To Pulitzer?
DAVID
(his turn to grin)
You're the leader.
Jack looks at the huge doors of the World Building,

steeling himself. He starts for them, then has a thought
-- beckons to Les, who runs to join him, thrilled.
JACK
Maybe the kid'll soften him up a
little.
Shouting encouragement, the Newsies clear a path as Jack

and Les march up to the big doors. Jack pounds on them
and there's a hush as everyone waits, watching -- including
a handsome, well-dressed man in his thirties, BRYAN DENTON.
The huge doors swing open like the mouth of a whale and
Jack and Les disappear inside. The Newsies cheer.
Denton moves next to David.
DENTON
What's going on?
DAVID
They're going in to present our
demands to Pulitzer.
DENTON
What demands?
(CONTINUED)
)O( 4/25/91 GREY 46. *
DAVID
The Newsies' demands. We're on
strike.
Denton looks around, a little amazed. He takes out a
notebook.
DENTON
I'm Denton, New York Sun. What's
your name?
DAVID
(suspicious)
David...
DENTON
David. As in David and Goliath?
(off at doors)
You really think old man Pulitzer's
going to listen to your demands?
DAVID
He has to.
At that instant, the big doors swing open and Jack and
Les are spat out like two seeds.
JACK
(yelling back)
So's your ol' lady! Tell Pulitzer
he needs an appointment with me!
The doors slam shut; Denton scribbles, intrigued.
49 INT. NEWSPAPERMAN'S RESTAURANT - DAY 49
Jack, David and Les devour a tray of sandwiches as Denton

takes notes. Newsmen at other tables glance over
curiously as Jack holds forth.
JACK
(a mouthful)
-- So this snooty mug is sayin',
'You cawn't see Mr. Pulitzer, no
one sees Mr. Pulitzer' -- real
hoity-toity, you know the type --
LES
(also a mouthful)
Real hoity-toity --
(CONTINUED)
)O( 4/25/91 GREY 47. *
49 CONTINUED: 49
JACK
-- So I says, 'I ain't in the
habit of transactin' business with
no office boy -- tell him Jack
Kelly is here to see him now.'
LES
That's when they threw us out.
DENTON
Doesn't it scare you going up
against the most powerful man in
New York?
JACK
(bravado)
Yeah, lookit me, I'm tremblin'.
Denton smiles, closes his notebook. Gets up, handing
David a card.
DENTON
Keep me informed -- I want to
know everything that happens.
DAVID
Are we really an important story...?
DENTON
What's important? A year ago I
covered the war in Cuba -- charging
up San Juan Hill with Colonel Teddy
Roosevelt. A very important story.
Now it doesn't seem so important --
except Teddy's our governor and
probably on his way to the White
House. Is the Newsies' strike
important? It all depends on you.
JACK
(stopping him)
My name really gonna be in the
papers?
DENTON
Any objections?
JACK
Not as long as you get it right --
Kelly, Jack Kelly. And, Denton?
No pictures.
Denton smiles and shrugs. David suspects Jack's thinking

of Snyder.
)P( 5/1/91 BLUE (2) 47A. *
50 EXT. BROOKLYN BRIDGE (MATTE SHOT - BROOKLYN SIDE) - DAWN 50

Jack, David, Boots are walking as we WIDEN OUT to reveal
the magnificent bridge against a dawn sky. They all seem
a little nervous.
DAVID
I've never been to Brooklyn --
have you guys?
BOOTS
Spent a month there one night.
DAVID
This Spot Conlon... is he really
as bad as they say...?
Jack and Boots look at each other and laugh; they keep
laughing as they walk along --
DAVID
I say something funny? Come on,
tell me -- he bad or not? What's
the joke? Tell me, willya? (Etc.)
We KEEP WIDENING as the figures get smaller and Jack and
Boots keep laughing and David keeps asking about Spot...
4/8/91 YELLOW 48. *
51 OMITTED 51
thru thru
54 54
55 EXT. BROOKLYN WATERFRONT - DAY 55

On a rotted and collapsing pier is a battered sign:
"BROOKLYN EXCURSIONS - CLOSED." Hunched under the pier
is a tough kid playing a harmonica, his eyes fixed on --
-- Jack, Boots, David as they cautiously approach through
the no-man's land of mud and junk. Boys appear like
hostile Indians -- behind them, to the side of them, in
front of them -- silently escorting them under the pier.
David looks very nervous as they are halted, and the
harmonica plays a signal, then stops abruptly.
From behind some rotting timbers steps a freckled gnome.

He looks them up and down, then grins. He is SPOT
CONLON.
SPOT
If it ain't Jack be nimble, Jack
be quick.
Jack meets his challenging grin with one of his own.

JACK
You're movin' up in the world,
Spot -- got a ocean view and
everything.
Spot and Jack exchange "heh-hehs." David's getting more
nervous.
SPOT
So I'm hearin' things from little
birdies in Harlem and Queens and
all over. They're chirpin' in my
ear: 'Jackie-boy's Newsies are
playin' like they're goin' on
strike -- '
DAVID
(blurting)
We're not playing -- we are on
strike -- it's --
Spot's eyes click like switchblades in David's direction

-- so do his henchmen's.
SPOT
What's this, Jackie boy? Some
kind of walkin' mouth?
(CONTINUED)
4/8/91 YELLOW 49. *
55 CONTINUED: 55
JACK
(unintimidated)
It's a mouth with a brain -- and
if you got half-a-one you'll
listen. Tell 'im, Davey.
David looks at Jack wide-eyed: "Me?" Scared to death,

he starts -- as Spot's henchmen begin circling him like
jackals.
DAVID
Uh... we started the strike but...
we can't do it alone, so... we've
been talkin' to Newsies all over
the city...
SPOT
So they told me. And what did
they tell you?
David looks nervously at the circling henchmen.
DAVID
That... they're all waiting to see
what Spot Conlon does. That you're
the key...
(as Spot puffs
himself up; David
sees an opening)
That Spot Conlon is the most
respected and... famous... newsie
in New York... and probably
everywhere else...
Spot signals the henchmen to stop circling; waits for

more, lapping it up.
DAVID
And... if Spot Conlon joins the
strike, they'll join and we'll be
unstoppable so you gotta join and
... well... you gotta...
He trails off. Spot nods, turns to Jack.
SPOT
You're right. Brains.
(hardens)
But I got brains, too -- and more
than half-a-one. How do I know
you punks won't run the first
time some goon comes atcha with
a club? How do I know you're in
it to win?
(CONTINUED)
4/8/91 YELLOW 50. *
JACK
'Cause I'm tellin' you.
SPOT
Not good enough, Jackie-boy. You
gotta show me.
He turns and walks away. David and Boots exhale in

relief -- but Jack suddenly grabs a rope hanging from
the wharf and swings in front of Spot.
JACK
Maybe you lost your guts, Spotty-
boy --
(as Spot freezes)
-- or maybe you traded 'em to some
chicken for that beak of yours.
(in Spot's face)
Maybe you gotta show me you ain't
afraid to join the strike.
Murder's in the air: David and Boots are paralyzed;
the henchmen are ready to explode. Spot's eyes are
locked on Jack's for an excruciating moment -- then
Spot grins.
SPOT
Nice try, pal. But that's just what
I'm talkin' about.
(serious)
Show me this strike ain't just some
kids do-or-dare, then we'll talk.
56 OMITTED 56
thru thru
58 58
59 EXT. NEWSIE SQUARE - AFTERNOON (SAME DAY) 59
With a bucket of red paint, Crutchy paints a portrait of

Pulitzer on an old bedsheet. Around him, Newsies roll
hoops, play marbles, tag, leap-frog, etc. Looks like
more of a holiday than a strike. Jack, David, Boots
return from Brooklyn.
RACETRACK
So where's Spot Conlon?
Jack looks disgustedly at the activity.
(CONTINUED)
)O( 4/25/91 GREY 51.
59 CONTINUED: 59
JACK
He was concerned about us bein'
serious -- you imagine that?
Some Newsies gather around, concerned.
KID BLINK
Without Spot and the others,
there ain't enough of us...
MUSH
Maybe we're movin' too soon,
maybe we ain't ready --
SKITTERY
Definitely should put this off
a coupla days, definitely --
PIE EATER
Hey, Jack -- you ready? I'm
ready!
He's swinging a picket sign.
JACK
At least somebody's got the right
idea.
PIE EATER
Who else is ready for stick-ball?
He tears the sign off the stick and swings it like a bat.
JACK
Who we kiddin' here. Spot was
right. Just a game to these
guys...
CRUTCHY
Hey, Jack -- get a loada this!
He's waving the bedsheet with the scowling devil-mask of

"Joe P" painted on it. Jack smiles as Crutchy parades
with the banner, the other Newsies begin to notice.
Across the square, Denton lounges with his notebook, *

studying the Newsies as if he, too, were concerned about *
how serious they are. *
David watches Crutchy parading with the bedsheet; other *
Newsies put aside their marbles, hoops, etc., and watch. *
Sensing a moment, David moves among them, beginning to *
sing:
(CONTINUED)
4/8/91 YELLOW 52.
SONG: "SEIZE THE DAY"
DAVID
OPEN THE GATES AND SEIZE THE DAY
As David sings, DON'T BE AFRAID AND DON'T DELAY
the others join in. NOTHING CAN BREAK US
They stand waiting, NO ONE CAN MAKE US
arms interlocked, as GIVE OUR RIGHTS AWAY
the gates begin to ARISE AND SEIZE THE DAY *
open...
DAVID
NOW IS THE TIME GROUP
TO SEIZE THE DAY NOW IS THE TIME
TO SEIZE THE DAY
DAVID
SEND OUT THE CALL GROUP
AND JOIN THE FRAY SEND OUT THE CALL
AND JOIN THE FRAY
DAVID
WRONGS WILL BE RIGHTED
IF WE'RE UNITED
ALL
LET US SEIZE THE DAY
DAVID
FRIENDS OF THE FRIENDLESS
SEIZE THE DAY GROUP
FRIENDS OF THE FRIENDLESS
SEIZE THE DAY
DAVID
RAISE UP THE TORCH
AND LIGHT THE WAY GROUP
RAISE UP THE TORCH
AND LIGHT THE WAY
ALL *
PROUD AND DEFIANT
WE'LL SLAY THE GIANT
LET US SEIZE THE DAY
NEIGHBOR TO NEIGHBOR
FATHER TO SON
ONE FOR ALL AND ALL FOR ONE
NEWSIE GROUP #1 *
OPEN THE GATES
AND SEIZE THE DAY NEWSIE GROUP #2 *
OPEN THE GATES
AND SEIZE THE DAY
(CONTINUED)
4/8/91 YELLOW 53.
NEWSIE GROUP #1 *
DON'T BE AFRAID
AND DON'T DELAY NEWSIE GROUP #2 *
DON'T BE AFRAID
AND DON'T DELAY
NEWSIE GROUP #1 *
NOTHING CAN BREAK US
NO ONE CAN MAKE US
GIVE OUR RIGHTS
AWAY
ALL *
NEIGHBOR TO NEIGHBOR
FATHER TO SON
ONE FOR ALL AND ALL FOR ONE
59A EXT. NEWSIE SQUARE/GATES - DAY 59A

MUSIC CONTINUES as the gates swing open and wagons loaded
with papers, followed by the nervous non-striking
Newsies, are revealed. Weasel and the Delanceys carry *
clubs...
*
-- Jack signals and Boots, Race and the boys loose a
volley of rotten fruit -- With a shrill cry, the Newsies *
rush into the courtyard and leap onto the wagons -- *
Denton watches nearby, writing it all down.
David moves among the ranks of terrified non-striking
Newsies, exhorting them --
DAVID
Throw down your papers! Join the
strike! (Etc.)
Many of them do -- ripping up their papers, shouting --

-- The Delanceys slog through a storm of rotten fruit;
cornering some Newsies by the wagons. They're raising
their clubs when --
-- Paint begins to dribble onto their heads -- they look
up and the whole bucket is dumped in their faces by
Crutchy. They lunge for him, dripping -- he ducks away,
poking at them with his crutch --
-- Jack and the others toss bundle after bundle of papers
from the wagons -- they're torn to shreds, tossed in the
air -- a blizzard of newsprint and then: SHRILL POLICE
WHISTLES --
(CONTINUED)
)O( 4/25/91 GREY 54. *
59A CONTINUED: 59A

JACK
Cheezit -- the bulls!
The Newsies scatter through the snowstorm of paper as

three mounted policemen gallop into the square --
Crutchy, hobbling as fast as he can, falls -- a large

hand snatches him up -- Morris, grinning through the
paint. But no one notices as --
The Newsies leap, cheering in triumph, through the drift-
ing shreds of paper, as they vanish in all directions --
59B INT. PULITZER'S OFFICE - MORNING 59B
He stands at the window with Seitz. Weasel hovers

nearby, awestruck in the presence of Pulitzer.
SEITZ
I don't think they're just going
to go away, Chief.
WEASEL
Just give me the means, Mr.
Pulitzer. I'll take care of them
for you.
Pulitzer turns his godlike gaze on Weasel, who seems to
shrink slightly. Pulitzer studies him a moment.
PULITZER
(to Seitz)
Give him whatever 'means' he
requires, I want this nuisance
over and done with.
He looks back down at the square, where Crutchy's crude

portrait of him, lying crumpled on the pavement, stares
back at him.
60 OMITTED 60
thru thru
63 63
64 EXT. HOUSE OF REFUGE - NIGHT 64

A dark cheerless building looming over an empty street.
INTO FRAME step Jack and David, Jack with a rope.
JACK
The House of Refuge... my home-
sweet-home...
(CONTINUED)
)O( 4/25/91 GREY 54A.
He crouch-runs across the street David following
nervously.
DAVID
How can you be sure they sent
Crutchy here?
(CONTINUED)
GREEN 4/10/91 55. *
64 CONTINUED: 64
JACK
How can I be sure the Delanceys
stink -- 'cause that's how things
work. An orphan gets arrested,
Snyder gets him sent here to be
'rehabilitated' --
(lassos a chimneypot
on the roof)
-- the more kids in the Refuge,
the more money the city sends to
take care of 'em, and the more
Snyder can steal.
(starts climbing)
He's here alright.
David, looking around nervously, starts climbing after

him.
64A EXT. HOUSE OF REFUGE - ROOF - NIGHT 64A

Jack and David creep along above some large barred
windows. Jack loops the rope around his waist, swings
over the edge --
65 EXT./INT. HOUSE OF REFUGE/BUNKROOM - NIGHT 65

David watches from the roof as Jack taps on a window.
An inmate, TENPIN, 9, looks up and grins.
TENPIN
Cowboy! Ya miss the joint?
JACK
Whattayasay, Tenpin. You got a
new guy, Crutchy --
TENPIN
The gimp? I'll get him for ya.
Jack takes a railroad spike from his belt and begins

prying at the bars, talking conversationally up to
David who's terrified someone's going to hear them.
JACK
That's Tenpin -- s'posed to get
out last Christmas but Snyder
keeps tackin' more time on his
sentence --
DAVID
(shushing frantically)
Be quiet -- they'll hear you --!
(CONTINUED)
GREEN 4/10/91 56. *
65 CONTINUED: 65
Crutchy appears, grinning at Jack dangling on the
rope.
CRUTCHY
Hey, whattaya hangin' around here
for? That Dave up there? Hiya,
Dave!
David pleads for silence. Jack pries at the bars.

JACK
Go get your hat, Crutch -- kiss
Snyder good-bye.
CRUTCHY
(evasively)
Yeah... hey, shoulda seen me in
court today -- old Judge Movealong
Monahan hisself! Took him two
minutes to move me along to
Snyder for 'my own good.'
JACK
Later, Crutchy -- get your stuff.
Crutchy stops Jack's hand prying at the bars.
CRUTCHY
Listen, Jack... truth is, I ain't
walkin' so good. Oscar and Morris
kinda worked me over a little...
JACK
They hurt you...? Don't worry,
we'll carry you --
CRUTCHY
(vehemantly)
I don't want nobody carryin' me --
never!
Jack looks up: Crutchy's eyes flash with pride. Then

he smiles, softens.
CRUTCHY
It ain't so bad here. Get three
squares, sorta, and there's some
swell fellas...
(up to David)
They still talk about how Jack
rode outta here on that coach!
(CONTINUED)
GREEN 4/10/91 57. *
65 CONTINUED: 65
DAVID
(sighs; resigned)
Teddy Roosevelt's. Right?
CRUTCHY
You already heard the story.
DAVID
You mean it's true --?
Crutchy hears something and quickly shushes them: Jack
disappears from the window; Crutchy slumps into a bunk
and pretends to sleep -- just as Snyder comes into
the room. Utter silence --
-- except for Snyder's FOOTSTEPS as he walks slowly down

the aisle between the bunks. He stops at the window, his
back to it. Crutchy sneaks open his eyes to see --
-- Jack, behind Snyder, swinging past the window, arms
stretched in a balletic arabesque --
-- Crutchy struggles not to laugh; Tenpin and some others
see what's going on. They all fight laughter as --
-- Jack swings back and forth behind Snyder, striking
difference poses as he passes the window: the breast
stroke, running on air, a bird with flapping wings...
-- From the roof, David looks down in disbelief: then

smiles -- nothing Jack does would surprise him any more.
-- Snyder glares suspiciously at the boys, sensing
something is going on. Behind him, Jack floats past
as an angel -- Snyder wheels around, looks --
-- but the window is empty. Puzzled, he walks out
of the room. The instant he's gone, the boys explode
in stifled laughter. We MOVE IN ON Crutchy as he
laughs until the tears come...
65A EXT. NEARBY STREET - NIGHT (LATER) 65A

Jack and David move down the deserted street.
JACK
Crutchy won't last in there...
I seen stronger guys than him
not make it.
(CONTINUED)
)P( 5/1/91 BLUE (2) 58. *
65A CONTINUED: 65A

DAVID
Did you really escape in Teddy
Roosevelt's coach?
JACK
Not in it. On it.
DAVID
What was he doing at the Refuge?
JACK
Runnin' for governor. Showin'
his concern, like all pols during
elections.
DAVID
Teddy's not like other politicians.
He's the biggest hero in the
country.
JACK
Anyway, he's there. I see his fancy
coach waitin' for 'im, so I sneaks on
top of it. Teddy gets in and he's
wavin' goodbye, and all the guys are
wavin' goodbye, and Snyder's wavin'
-- 'Good-byeeee, Colonel Roosevelt!'
So just as we're goin' out the gate,
I stands up and --
(waves)
'Good-byeee, Warden Snyder!' It was
in the papes and everything.
DAVID
(laughs; then)
He's governor now. I don't understand
how he could see that place and not
do anything --
JACK
He only seen what Snyder wanted him
to -- good food, everything the
city pays for that Snyder usually
steals.
DAVID
I'll bet if he just knew -- I mean,
he's a hero --
JACK
Last year he was a hero. This year
he's a politician.
)P( 5/1/91 BLUE (2) 58A.
66 OMITTED 66
thru thru
69 69
70 EXT. WORLD COURTYARD - EARLY MORNING 70

Weasel moves down a line of frightened young scab
newsies clutching their papers. He stops in front of --
-- a burly THUG, 20s, and behind him two dozen more, all
clutching newspapers.
WEASEL
Okay, 'newsies' -- you check the
funny papers this morning?
The Thugs unfold their paper -- inside are clubs, chains,

brass knuckles, saps. In the distance, we hear MUSIC
BEGIN: the marching pulse of the strike anthem...
(CONTINUED)
GREEN 4/10/91 59.
70 CONTINUED: 70
THUG #1
Before we bust faces, we want our *
money.
Weasel puts money in their hands as they file past. The *
MUSIC is BUILDING and -- *
71 EXT. NEWSIE SQUARE - MORNING 71

SONG: SEIZE THE DAY explodes into full energy as Jack
and David lead the Newsies across the square towards
the gates.
THE NEWSIES
OPEN THE GATES
AND SEIZE THE DAY
DON'T BE AFRAID
AND DON'T DELAY
NOTHING CAN BREAK US
NO ONE CAN MAKE US
GIVE OUR RIGHTS AWAY
ARISE AND SEIZE THE DAY!
As the Newsies converge on the gates --
72 EXT. GATES - MORNING 72
The gates swing open and the young scab newsies file
nervously out -- cannon fodder -- as our Newsies line
up and wait for them. David leads a chant --
DAVID
Join us! Join us! etc.
Some of the scabs decide fast -- they throw down their
papers and run to the Newsies where they're welcomed with
cheers and handshakes -- but then --
JACK
(sees something)
Look out -- !
A WAGON is ROARING out of the gates full-speed -- barrel- *
ling towards the line of Newsies -- *
-- the Newsies scatter -- the line breaks as the WAGON

ROARS through, and right behind it is --
-- the army of Thugs, charging through the gates with

clubs and chains waving --
(CONTINUED)
GREEN 4/10/91 60. *
72 CONTINUED: 72
-- dozens of scattered battles break out as the Newsies
fight back as best they can --
Denton watches at the edge of the square -- nearby him

are six POLICEMEN, also watching, doing nothing.
DENTON
Why don't you stop this -- ?
COP (POLICEMAN)
(looks at him
coldly)
You better move along, mister...
Denton turns, picks up something -- a large camera and
tripod. He moves off quickly --
-- scattered skirmishes all over the square -- clubs

swing, fists flail -- the Thugs move the Newsies back,
trying to box them in --
-- Weasel and the Delanceys, backed up by other Thugs,
are forcing Jack, David, Race, Mush, Boots and Blink into
a tight circle. The boys fight back as best they can,
dodging the brutal clubs and saps. As the circle
tightens, Weasel's eyes are gleaming with gloat --
WEASEL
Strike's over, boys.
Something seems to sting him in the neck -- he slaps at
it as if at a mosquito. Then other Thugs begin
slapping -- all over the square, Thugs are slapping and
looking around in puzzlement -- then --
-- the BELL CLANGS as it's hit by a good-sized stone.
Jack looks up as David points excitedly to the roofs

where --
-- It's Brooklyn to the rescue: Spot Conlon's gang is
pelting the Thugs with volleys from their slingshots --
and Spot himself is swinging through the air on a chain
hoist into the square. He grins as Jack runs up --
SPOT
So, ya showed me! Now I'll show
you what Brooklyn can do --!
The Thugs retreat from the merciless slingshots -- Jack
rallies his Newsies and leads a screaming charge as the
Thugs hurry behind the gates, closing them. Jack and
Spot spit in their palms, shake hands as --
(CONTINUED)
GREEN 4/10/91 61/62.
*
MUSICAL REPRISE: "SEIZE THE DAY" begins again; jubilant,
victorious --
SKITTERY
NOW IS THE TIME TO
Jack leaps on a loose
horse, pulls David up ALL
and they lead an impromptu SEIZE THE DAY
victory parade.
RACETRACK
The police fade away; SEND OUT THE CALL AND
Spectators who have
watched it all begin to ALL
applaud. Many throw SEIZE THE DAY
coins, bills, or show other
signs of support... BUMLETS
WRONGS WILL BE RIGHTED
ALL
SEIZE THE DAY
PIE EATER
WHEN WE'RE UNITED
ALL
SEIZE THE DAY SEIZE THE DAY
73 OMITTED 73
74 EXT. ROOFTOP OVERLOOKING SQUARE -- DAY 74

Denton flashes a photo as MUSIC ENDS and we see --
75 INT. SUN - PRESS ROOM - DAY 75
The front page of The Sun SPINS OFF the press -- a big
headline: "THE CHILDREN'S CRUSADE" and a large picture
of the Newsies, with Jack very prominent. We hear
EXCITED CHEERING as we GO TO --
76 INT. NEWSPAPERMEN'S RESTAURANT - DAY 76

A boisterous and happy celebration as dozens of Newsies
snatch copies of The Sun from Denton as he passes them
out --
(CONTINUED)
)P( 5/1/91 BLUE (2) 62A.
76 CONTINUED: 76
-- Waiters bring trays of sasparilla and cold cuts --
everybody talks at once --
*
RACETRACK
Lookit this --
just lookit this,
willya -- ?
SPOT
Where's me pitch'a?
Where's me pitch'a? BOOTS
All them words --
are they all about
us -- ?
MUSH
Lookit Jack -- he
looks like a general
or sumpin'! SPOT
Where's me name?
Where's it say me
name?
DAVID
Listen! Listen up, everybody -- !
(reads)
'Like a small but rising storm,
the infant newsboys' union
continues to gather force -- '
Loud cheers.
MUSH
Hey, ya write sweet, Denton -- real
sweet.
Denton smiles; Jack is in the center, trying to keep
cool.
DAVID
(reading)
'Their leader is a child of the
New York streets with a red bandana
and a golden tongue, Jack Kelly -- '
JACK
Where's it say that...?
SPOT
Stop t'inkin' about yaself and let
'im read!
(CONTINUED)
)P( 5/1/91 BLUE (2) 63.
76 CONTINUED: 76
DAVID
(reading)
'The latest clash demonstrates that
the publishers might do well to
reconsider their strategy of just
waiting out the strike -- '
(to Denton) *
That's their plan? To just wait
us out?
(CONTINUED)
GREEN 4/10/91 64.
DENTON
You're kids. They think you'll
get tired, or bored, or maybe just
too hungry. And with my colleagues
on the other dailies not allowed
to cover you --
He looks pointedly at a group of reporters leaving the

restaurant, shame-facedly averting their eyes.
DENTON
-- They can just ignore you until
you go away.
JACK
We ain't goin' away. We'll never
go away.
DAVID
That's what we gotta show 'em --
we gotta do somethin' they can't
ignore, somethin' big --
JACK
We'll do it up big, all right --
We'll show 'em we ain't tired, or *
bored, and the hungrier we get,
the more we fight --
(as Denton starts
writing)
We'll have a rally -- every Newsie *
in New York -- and we're gonna send *
a message: there's a lot of us and
we ain't goin' away -- we'll keep
fightin' until doomsday if it means
gettin' what's ours!
His eloquence is spellbinding; the Newsies are silent,

looking at him with new respect. Then, from somewhere,
there is a smattering of APPLAUSE. They look to see --
-- At the door, the group of reporters applauding --

guilty applause maybe, but still applause. One of them
takes a dollar and puts it in the box marked NEWSIES
STRIKE FUND -- another follows suit, then another, and
another...
Jack and the Newsies watch -- then Jack begins to applaud

the reporters. The Newsies join in, clapping, whistling,
as the reporters hurry out, feeling a little better about
themselves.
)R( 5/8/91 - PINK (2) 65.
77 INT. HOUSE OF REFUGE - SNYDER'S OFFICE - DAY 77

SNYDER pops a messy eclair in his mouth -- from a large
platter of them -- as he glances at the New York Sun.
Crutchy, with a featherduster, is eyeing the eclairs
when he sees the picture in the Sun.
CRUTCHY
That's Jack -- ! Hey, he looks
just like hisself!
Snyder looks at the picture: instant recognition.
SNYDER
You know this boy...?
CRUTCHY
Him? Nah.
SNYDER
(smarmy smile)
You have a famous friend, this
'Jack.'... Do you know where he
lives...?
CRUTCHY
I never seen the guy, honest.
(hits his head with
his palm)
This brain of mine, always makin'
mistakes. Got a mind of its own.
He hobbles out quickly. Snyder looks at him, eyes
narrowing.
78 OMITTED 78
thru thru
90 90
90A INT. IRVING HALL - WINGS - DAY 90A

A juggler struggles on stage. Medda, waiting to go on,
checks her makeup as Jack and David talk to her.
MEDDA
Darlings, I love you -- I wish *
you luck on your rally, I am behind *
you one hundred percent. But I'm
not running a union hall here --
this is a theater, a temple of
art. And well-known money pit.
JACK
We got money, Medda. Some, anyway.
(CONTINUED)
)R( 5/8/91 - PINK (2) 66. *
90A CONTINUED: 90A

David sees him take money out of the Prince Albert can.
DAVID
We'll take a collection at the
door. We'll pay whatever you ask.
MEDDA
It's not the money. I depend on
the papers. They write good
things about me, the customers
flock here like sheep. They give
me the pan, I'm the one who gets
sheared.
DAVID
You're afraid of them, too...
JACK
Medda's gotta look out for herself
same as anybody. We'll find
another place.
DAVID
How can they make a whole city
afraid? We're the ones putting
our necks on the line -- all we
need is for somebody to have the
guts to stand up and show them
we're not alone!
MEDDA
They have the power to destroy
people...
DAVID
They can't destroy you if you
fight them -- only if you let
them own you!
MEDDA
(softly)
You are so young...
She looks back out at the stage; Jack pulls David away.
Then --
MEDDA
Got to be on Monday night. I'm
dark on Monday nights.
Jack looks at her, smiles. He tries to put his money

in her hand: she refuses it.
(CONTINUED)
)R( 5/8/91 - PINK (2) 66A.

JACK
Take it, Medda. Please...? *
(as she does, *
reluctantly) *
Thanks. *
MEDDA
Don't thank me. Thank Mr.
Wisenheimer Guilt-maker of 1899
there.
She winks at David and moves off to the stage. Stricken *

to the core, David watches her begin to sing. *
)O( 4/25/91 GREY 67. *
91 INT. NEWSIES' LODGING HOUSE - NIGHT 91

Mush painstakingly charcoals "NEWSIES RALLY -- IRVING
HALL" on a piece of cardboard. Newsies are scattered in
the lobby making handbills, signs, posters. Kloppman
comes in and stops short, seeing a dark figure at his
counter, going through his register.
KLOPPMAN
Can I help you?
The figure turns -- Snyder smiles his smarmy smile.
SNYDER
Do you have a 'Jack Kelly'
registered here? I wish to see
him.
The boys look up, alert. Kloppman dislikes Snyder on

sight.
KLOPPMAN
'Jack Kelly...?' Any of you boys
know a 'Jack Kelly'?
SNIPESHOOTER
Unusual name for these
parts. SKITTERY
I knew a Jack somebody once.
Prob'ly not the same guy.
RACETRACK
You mean Jack Kelly -- ?
Behind Snyder, they see Jack bouncing in the front door.
Racetrack tries to signal him --
RACETRACK
-- He was here but he put an egg
in his shoe and beat it.
Jack sees Snyder -- but instead of running back out the
door, he can't resist mocking him behind his back. The
Newsies snicker; Kloppman is dying.
SNYDER
I have reason to believe he's an
escaped prisoner. Possibly
dangerous.
KLOPPMAN
Oh, dear me... dangerous? My
files are in the rear -- this way,
please.
(CONTINUED)
)O( 4/25/91 GREY 68. *
91 CONTINUED: 91
He tries to move Snyder away, silently imploring Jack to
go -- but Jack takes his time, picks up a leaflet, elabo-
rately approves it, pockets it and strolls out, blowing
good night kisses. The Newsies crack up -- Snyder wheels
around suspiciously. Racetrack thrusts a leaflet in his
face.
RACETRACK
(palm extended)
Give to the Newsies strike fund,
mista?
Snyder tries to look around the leaflet -- then it

catches his eye: "RALLY AGAINST PULITZER." He takes it
thoughtfully, making a connection. Smiling dangerously,
he digs out a penny and drops it in the surprised
Racetrack's hand.
92 OMITTED 92
& &
93 93
94 EXT. DAVID'S BUILDING - FIRE ESCAPE - EARLY MORNING 94

The orange glow of a sunrise is reflected in the window.
Sarah appears inside, in a modest nightgown. She opens
the window and breathes in the morning air. Then she
sees Jack hunched against the wall on the fire escape,
shivering.
SARAH
(startled)
Did you sleep there? Why didn't
you wake us up?
JACK
Didn't wanna disturb nobody...
anyway, it's like the Waldorf out
here... great view, cool air --
She glances back in the apartment.

SARAH
Go up on the roof.
She pops back inside. He shrugs, climbs onto --
95 EXT. ROOF - MORNING 95
Jack stretches, shadow-boxes: something crackles in his

pocket -- the rally leaflet.
(CONTINUED)
)O( 4/25/91 GREY 69. *
95 CONTINUED: 95
He's looking at it thoughtfully as Sarah climbs up behind
him in a shawl, with a bundle. She sees the leaflet.
SARAH
It's all getting so big. The
family's very worried about the
boys. And you, too.
JACK
Your mom and pop are worried about
me...?
SARAH
(shyly)
The whole family...
She unfolds the bundle to reveal a breakfast of bread and

milk. He digs in hungrily.
SARAH
David says you're moving away when
the strike's over. To Santa Fe.
I've never been out of the city.
JACK
(chewing)
You'd like it out there -- they
got this big yellow desert and the
air's real blue, see, from the sky,
and the sun, it's bigger out there.
SARAH
(smiles)
It's the same sun as here.
JACK
No. No, it ain't...
(beat)
Not that I been there or nothin'.
SARAH
Guess your parents wrote you about
it. Bet you can't wait to see
them again.
JACK
(looks away)
Sure... big family reunion.
Soon's I get the dough for train
fare.
SARAH
David said you spent all your
money to rent the theater.
(CONTINUED)
)O( 4/25/91 GREY 69A. *
JACK
Sounds like you and Dave don't do
nothin' but talk about me.
SARAH
We do not.
JACK
Not that I blame you -- me bein'
such an interestin' guy and all --
SARAH
(smiles)
Are you...?
They're smiling, their faces close; for an instant, a

kiss seems inevitable. But suddenly a gust of wind
catches the leaflet and sails it off the rooftop. Jack
lunges for it -- knocking over the milk, squashing the
bread with his elbow. He looks up at her sheepishly.
JACK
What'd I tell ya -- interestin',
right?
Sarah giggles. The leaflet gyrates in the wind as we
GO TO --
96 INT. PULITZER'S OFFICE - DAY 96

Another leaflet reading "RALLY AGAINST PULITZER" (the one
Snyder took at Kloppman's) is in Pulitzer's hands as he
listens to MAYOR VAN WYCK, very nervous. Nearby is
POLICE CHIEF DEVERY.
MAYOR
(sweating)
Of course the city is very
concerned that this, uh, event
doesn't get out of hand, but...
Chief?
CHIEF
We can't just charge in and break
it up, Mr. Pulitzer -- we got no
legal cause.
Pulitzer looks as if he knows something they don't.
(CONTINUED)
PINK 3/28/91 70.
96 CONTINUED: 96
PULITZER
Would the fact that this rally is
organized by an escaped criminal
be cause enough, Mayor?
MAYOR
An escaped criminal...?
PULITZER
A fugitive from one of your
prisons, Mayor -- a convicted
thief who's been at large for some
time under the alias of 'Jack
Kelly.' His real name is...?
Snyder slinks out of a corner, humble in such august

company.
SNYDER
Sullivan, Your Honor -- Francis
Sullivan. I would have caught him
before now but --
PULITZER
You know Warden Snyder, don't you,
Mayor? I believe you appointed
him.
The Mayor nods ruefully; not one of his best appoint-
ments.
MAYOR
If this boy is a fugitive, then
the chief can quietly arrest him
and --
PULITZER
Not quietly -- I want an example
made. I want this rabble he's
roused to see what happens to
those who dare to -- well, they
should see justice in action.
MAYOR
Arrest him at the rally? But...
PULITZER
By the way, Mayor, I'm having a
few friends for cards that night
-- newspaper friends, Willie
Hearst, Gordon Bennett. Perhaps
you'll join us -- we can talk
about the coming election.
(CONTINUED)
4/19/91 CHERRY 71. *
MAYOR
(too eager)
I'd be honored... thank you.
Pulitzer dismisses them and they start out, Snyder oozing
backwards, the Mayor now all business with Chief Devery.
MAYOR
Chief, when you arrest this Kelly,
you'd better go in force -- in
case some of his misguided friends
should start any trouble.
As they go, Pulitzer picks up his magnifying glass and
examines the leaflet. We CUT AWAY as he stares through
the glass so he seems to be looking at --
97 OMITTED 97
& &
98 98
99 EXT. IRVING HALL - BOOTS' EXCITED FACE - NIGHT 99

Boots FILLS the SCREEN as he shouts --
BOOTS
Extry, extry -- Newsies take Noo
Yawk!
Swarms of excited Newsies engulf Boots as he pretends to
hawk the imaginary headline. They cascade toward the
entrance where Jack and David shake hands, slap backs as
they flow past. Kloppman goes past, then Denton. Sarah
and Les are nearby.
JACK
Hey, Denton -- sit down front!
You're the guest of honor!
DENTON
(shakes his head)
I'm working press tonight.
(looks around)
The only working press. As usual.
DAVID
As long as you keep writing about
us, they're gonna know we exist.
99A INT. THEATER 99A

Boys swarm into the seats, filling the theater -- down
front, the pit band plays a spirited tune.
4/19/91 CHERRY 72.
100 OMITTED 100
101 INT. PULITZER'S MANSION - NIGHT (SUDDEN SILENCE) 101 *
as a butler passes cigars in a silver humidor to five

men in formal clothes around a table as Pulitzer breaks
the seal on a deck of cards. The Mayor is next to him.
The room is cavernous, austere.
PULITZER
You know the boys, Mayor -- Mr.
Bennett of The Tribune, Mr. Taylor
of The Times, of course you know
Mr. Hearst -- and this is a new
member of our little group, Mr.
Gammon, who just came back from
Europe...
GAMMON, a portly fop in muttonchops, shakes the Mayor's

hand.
PULITZER *
Mr. Gammon owns The New York Sun. *
They all light cigars as Pulitzer begins to deal.
102 OMITTED 102
103 INT. IRVING HALL - NIGHT 103

The place is packed. The band plays and a thundering *
cheer goes up as Jack, David, and Spot Conlon leap on
the stage. Jack raises his hand and the noise subsides,
the band stops. Everybody looks at Jack -- expectant
silence. He lets it build for a moment, then --
JACK
Carryin' the banner!
AUDIENCE
(a roar)
The noise threatens to blow the roof off the theater as
we see --
104 OMITTED 104

& &
105 105
4/19/91 CHERRY 73. *
105A EXT. NEARBY STREET - NIGHT 105A

A column of mounted police clip-clop down the cobble-
stones. The CHEERING from the theater, blocks away, is
FAINT in the night air...
The noise subsides and Jack speaks.

JACK
We come a long way but we ain't
there yet -- and maybe it's only
gonna get tougher from now on!
That means we get tougher too --
(as a huge roar
goes up)
-- it also means we get smarter!
That's why we're gonna listen to
my pal David and stop soakin' the
scabs --
SEVERAL IN CROWD
No! They asked for it -- etc.
RACETRACK
Whatta we s'pose to do -- kiss 'em?
JACK
I personally wouldn't go that far,
Race.
SPOT
(jumping up)
Any scab I see, I soak 'em -- period!
DAVID
That's just what they want you to
do -- so they can say we're just
thugs --
SPOT
I don't care what they say -- some
of us ain't made to just take it!
I say anybody hurts us, we hurts
them worst! Who's with me?
A large faction roars in agreement; arguments break out

as --
BY ENTRANCE DOORS
Sarah stands next to Denton and Kloppman. Behind them,

the door cracks and in slides Snyder. Kloppman sees him
and whispers urgently to Denton, who starts moving after
him.
(CONTINUED)
)T( 5/15/91 GREEN (2) 74.
106 CONTINUED: 106

BACK TO SCENE
Loud voices, fists starting to fly, chaos --

JACK
That's right -- start fightin'
each other! Prove what the big
shots say is true -- we're street
rats with no brains and no respect
for nothin' -- includin' ourselves!
(as they quieten)
Here's how it is: we don't stick
together, we're nothin'. We don't
trust each other, we're nothin'.
We don't act together, we're nothin'
-- and we might as well go back
to the streets where we belong.
What's it gonna be?
(looks at Spot)
Whattaya say, Spot?
SPOT
I say --
He looks out at the crowd; the expectant faces, waiting,

afraid it's all going to fall apart. Then back at Jack.
SPOT
I say... what you say... I say!
Spits in his palm and they shake. A huge roar goes up
and the boys thrust their hands up in triumph -- but
the applause isn't for them but for the curtain rising
behind them revealing the dazzling vision of Medda,
who walks smiling downstage and begins --
*
(CONTINUED)
)S( 5/10/91 YELLOW (2) 75. *

MEDDA
(sings)
HIGH TIMES, HARD TIMES
SOMETIMES THE LIVIN' IS
SWEET
AND SOMETIMES THERE'S
NOTHIN' TO EAT
BUT I ALWAYS LANDS ON MY
FEET
SO WHEN THERE'S DRY TIMES
I WAIT FOR HIGH TIMES AND THEN
I PUTS ON MY BEST
AND I STICKS OUT MY CHEST
AND I'M OFF TO THE RACES
AGAIN
MEDDA
Hiya, Newsies -- what's new?
They roar; Racetrack's on his feet --
RACETRACK
Hey, Medda, anytime you're off to
the races, remember -- I got all
the winners!
MEDDA
You're all winners here tonight,
Racetrack. Just being with you
makes me feel kinda extra extra.
MUSH
("fainting")
I'm dead, I'm in Heaven --
somebody gimme a harp!
MEDDA
But you never know what life will
bring. Over the years, I've
developed quite an outlook --
KID BLINK
Oooo, lookout for that outlook!
MEDDA
And all kinds of people are always
asking my advice, well, for
instance --
(CONTINUES -- SONG)
(CONTINUED)
)S( 5/10/91 YELLOW (2) A75A. *

MEDDA
(sings)
MY GOOD FRIEND THE MAYOR,
HE CALLS ME TODAY
SAYS ALL THE VOTERS IS
TURNING AWAY
'HELP ME,' HE CRIES, 'OR
THEY'LL GIVE ME THE AX!'
I SAYS, 'YOUR HONOR, YOUSE
GOT TO RELAX.'
EVERYBODY!
ALL
HIGH TIMES, HARD TIMES
SWEET
NOTHIN' TO EAT
FEET
I WAIT FOR HIGH TIMES AND THEN
I PUTS ON MY BEST
AGAIN
Medda moves through the crowd:
MEDDA
You boys sing as sweet as
songbirds.
MUSH
Lookit me, I'm a bird, I'm flyin',
I'm flyin' --
KID BLINK
It's a beautiful, Medda, I tellya,
I never heard such beautiful!
BOOTS
(offering a blue
marble)
My prettiest one, Medda --
it's like your eyes.
MEDDA
(moved; kisses him)
Thank you, Boots. Would you keep
it for me? For luck?
Boots beams happily as she moves to --
(CONTINUED)
)S( 5/10/91 YELLOW (2) 75A/75B. *

RACETRACK
Medda, whattayasay -- you and me,
Saratoga. We catch the races,
maybe a nightclub --
(off her expression)
I'm dreamin', huh? It's some
other guy -- right?
MEDDA
I'm afraid so, Race...
She turns to a little boy and sings --

MEDDA
(sings)
SO YOUR OLD LADY DON'T LOVE
YOU NO MORE
SO YOU'RE AFRAID THERE'S A
WOLF AT YOUR DOOR
SO YOU GOT STREET RATS WHAT
SCREAMS IN YOUR EAR
The boys boo and hiss.
MEDDA
YOU WIN SOME, YOU LOSE
SOME, MY DEAR
ALL
IT'S HIGH TIMES, HARD TIMES
SWEET
NOTHIN' TO EAT
FEET
I WAIT FOR HIGH TIMES AND
THEN I PUTS ON MY BEST
AGAIN
I PUTS ON MY BEST
AGAIN!
Medda and dance girls start it but the boys quickly join
in -- belting out the lyrics with one great swelling
voice, together, celebrating --
)S( 5/10/91 YELLOW (2) A75C.
107 EXT. IRVING HALL - NIGHT 107

The happy song roars inside the theater as the mounted
police begin to form a half-circle around the entrance.
A paddy wagon clops up and some foot police dismount,
among them Officer MacSwain whom we met before.
108 OMITTED 108

thru thru
111 111
4/8/91 YELLOW 75C.
111A EXT. IRVING HALL/STAGE ENTRANCE - NIGHT 111A

Weasel, the Delanceys, roll up in two wagons, each
filled with club bearing goons.
4/19/91 CHERRY 76.

The SONG fills the hall as Jack, happy and proud, sees
Sarah smiling at him, reaches out his hand and pulls her
on stage. David is watching this when someone signals
him -- Denton, who points his finger at --
Snyder edging closer to Jack, checking the time on his
pocket watch. He has something in his hand -- a tin
police whistle. He puts it to his lips and is about to
blow it when Denton moves up behind him and --
DENTON
Aren't you Warden Snyder?
Snyder nearly swallows the whistle --
DENTON
I'm Denton of The Sun. I've heard
about your work with young people.
I wonder if you'd agree to an
interview?
Snyder blinks at him, glances at his watch, then lowers
his police whistle, smiling modestly.
ON STAGE
David tries to move to Jack to warn him but Race and the
others have formed a chorus line and drag him into it.
David shouts over the song --
DAVID
Jack -- you've gotta get out of
here! Snyder!
(as Jack cups
his ear)
Snyder!
Jack can't hear over the song but Snyder does --

DENTON
(interviewing)
Is it Snyder as in 'snide'?
Furious, Snyder blows the police whistle for all he's
worth. Instantly police burst in from every door -- all
converging on Jack. Immediately he leaps off the stage
into the arms of several boys below -- then fights his
way out the front door --
113 OMITTED 113

4/19/91 CHERRY 77.
114 EXT. IRVING HALL/FRONT - NIGHT 114

Jack rushes out and slides to a stop --
-- the mounted police form a half-circle cutting him

off -- and from behind them, Weasel, the Delanceys,
and the Thugs move through the horses towards him.
Jack has no choice -- he turns and races back into --
114A INT. THEATER 114A

Jack darts past the cops back down the aisle where --
Snyder is waiting for him at the foot of the stage,

crouched like a football player. As he starts to
pounce on Jack --
(CONTINUED)
PINK 3/28/91 78.
114A CONTINUED: 114A

-- David flies off the stage onto his back -- Snyder
stumbles around as David hangs on in a wild piggyback
ride. A cop pulls him off and hurls him to the floor --
-- Sarah screams, seeing what's happened to David --
Les, sobbing, kicks furiously at the cop's leg. Sarah
pulls her little brother away as --
-- Weasel and his thugs burst in the doors, clubs

swinging. The Newsies scatter, try to escape -- but at
each exit door more cops are moving in --
-- Denton, horrified, shouts at the cops to stop -- a

thug cracks him on the head and he staggers, bloodied...
-- Spot, Race, Boots dart into the wings and start

working the pull ropes --
-- Cops converge on Jack at the foot of the stage,
backing away, he leaps on stage desperately looking
around when he hears behind him --
WEASEL
Show's over, Cowboy.
He turns to see Weasel and the Delanceys grinning at him,
clubs in their hands. They start toward him and suddenly
disappear -- straight down the trap door that's suddenly
opened beneath their feet. Jack sees Spot at a lever in
the wings --
RACETRACK
Curtain goin' up, Jack -- !
Race and Boots jerk the ropes of the fire curtain and
Jack leaps for it as it starts to rise --
BOOTS
Try to reach the skylight -- !
Cops leap for Jack's legs as he rises above them heading
up into the flies. He hangs on, thrusts one fist into
the air and shouts --
JACK
In the theater, the battered Newsies cheer, heartened.

Cops are trying to herd them out --
-- David cheers, pulls for Jack as he watches him rise

-- Officer MacSwain has David by the arm -- suddenly --
(CONTINUED)
)S( 5/10/91 YELLOW (2) 79. *

-- Weasel, climbing out of the trap, hurls his cudgel --
it sails end over end and --
-- Hits Jack in the side -- he plummets into the mass of

cops and is engulfed in blue uniforms.
114B IN WINGS 114B

David, chased by MacSwain, races across the stage and up
the dressing room stairs. MacSwain nabs him, they're
struggling; suddenly, at the top of the stairs --
MEDDA
(the grand lady)
Unhand that boy this instant!
(as MacSwain looks
up, startled)
I said hands off the kid, you red-
faced baboon! Get out of my
theater -- out, out, out, out,
out!
David twists away as MacSwain backs stumblingly down the
stairs as Medda descends on him in full fury.
MEDDA
If you're tired of beating up
children, maybe you'd like to try
a lady next.
Confused and intimidated, the Irish cop looks at her --
then ducks his head shamefacedly and moves away.
MEDDA
Run, David, hurry --
DAVID
They got Jack --
MEDDA
You can't help him if you're in
jail, too! You were right, David
-- you've got to keep fighting
them -- always.
(kisses him)
Now go. Please.
David looks at her, very moved, then goes. She turns
back to her theater -- the sounds of the melee sweep over
her. She watches, tears welling in her eyes...
115 OMITTED 115

)T( 5/15/91 GREEN (2) A79A.
116 INT. COURTROOM - MORNING 116

A dingy room filled with dusty light. A BAILIFF
announces --
BAILIFF
Awrise, awrise, court is now in
session, Judge E.A. Monahan
presiding.
Weasel is in the gallery as JUDGE MOVEALONG MONAHAN,

hungover, winding a pocket watch, takes the bench and
glances down at a group of battered Newsies, including
Spot, Race, and Boots.
MONAHAN
Any of you represented by counsel?
No? Good. That'll move things
along considerably.
David sees Denton come in, a neat bandage on his head.
SPOT
Judge Movealong, ya honor, I object.
MONAHAN
On what grounds?
SPOT
(proudly)
On the grounds of Brooklyn, ya honor!
The Newsies congratulate Spot. Monahan gavels.
MONAHAN
I fine you each five dollars or
two weeks confinement in --
RACETRACK
Five bucks! We ain't got five
cents!
DENTON
(standing)
I'll pay the fines. All of them.
JUDGE
Pay the clerk. Next.
The Newsies mob Denton boisterously. *

ALL *
Thanks, I owe ya, you're a right *
guy, Denton, etc. *
(CONTINUED)
)T( 5/15/91 GREEN (2) 79A/80. *
116 CONTINUED: 116

DENTON
(subdued)
Meet me at the restaurant, all of
you. We have to talk.
RACETRACK
Talk and eat, right? On you, huh,
pal?
They laugh and clap his shoulders as he looks uncomfort-
able. Suddenly David gasps, seeing Jack led out in
shackles, his face bruised and swollen. Everybody
stares, horrified.
JACK
Hiya, fellas! Hey, Denton --
guess we made all the papes this
time, huh? How'd my picture look?
DENTON
None of the papers covered the
rally. Not even The Sun.
Jack is stunned, David bewildered, as Denton turns
abruptly and leaves the courtroom. The Bailiff shoves
Jack in front of the bench. Snyder slips in from a side
door.
BAILIFF
Case of Jack Kelly, inciting to
riot, assault, resisting arrest.
SNYDER
Judge Monahan, I'll speak for this
young man --
JACK
(mock surprise)
You two know each other? Ain't
that nice.
(CONTINUED)
)O( 4/25/91 GREY 81. *

MONAHAN
Just move it along, Warden Snyder.
SNYDER
This boy's real name is Francis
Sullivan; mother deceased; father a
convict in the state penitentiary --
David, the Newsies, are stunned as Snyder continues.

SNYDER
He is currently an escapee from the
House of Refuge, where his original
sentence of three months for theft
was extended six months for
disruptive behavior --
JACK
-- Like demandin' you give us the
food you steal from us --
SNYDER
-- Followed by an additional six
months for an attempted escape --
JACK
(fighting tears)
-- Last time wasn't no attempt,
remember, Snyder? Me and Teddy
Roosevelt wavin' bye-bye --
SNYDER
-- Therefore, I ask that he be
returned to the House of Refuge --
JACK
-- For my own good, right,
Movealong? -- and for what Snyder
kicks back to ya --
SNYDER
-- And that the court order his
incarceration until the age of
twenty-one --
DAVID/NEWSIES SNYDER
(on their feet) -- In the hope that we
No! You can't do that! may yet guide him to a
No! Etc. useful and productive
life.
MONAHAN
So ordered. Next.
The Newsies shout angrily as Jack is led away,

struggling. Weasel slips out the door, smiling.
)R( 5/8/91 - PINK (2) 82. *
117 OMITTED 117

& &
118 118
119 INT. NEWSPAPERMAN'S RESTAURANT - DAY 119

David, Spot, Race, Mush, Boots, Blink pick dispiritedly
at a plate of knockwurst. Les, hungry as always,
finishes a large sausage and takes another as he listens.
KID BLINK
He won't be there long -- the jail
ain't built that Jack can't bust
outta.
BOOTS
They're buildin' some mighty good
jails these days...
RACETRACK
So where's Denton?
DAVID
He said he'd be here.
(beat)
We can't let this stop us. We
gotta keep the strike going, just
like Jack was here.
MUSH
(the sad truth)
Yeah, but Jack ain't here.
RACETRACK
We know that, genius -- if he was
here, he'd be tellin' us what to
do when he ain't here.
SPOT
(gets up)
You bummers is givin' me a
headache.
DAVID
Where you goin'? We need you.
Spot sighs: he hates having to explain the obvious.
SPOT
Nachally Spot Conlon is needed
wherever -- which right now is
Brooklyn. Some of my boys is
worried, I must give ear to their
concerns --
(MORE)
(CONTINUED)
)R( 5/8/91 - PINK (2) 82A.

SPOT (CONT'D)
(slams fist in his
palm)
-- and reassure them.
As he starts out, he passes Denton, coming in. Denton
hardly notices him as he moves up to the table and is
greeted (AD LIB) by the boys. He seems grim, bitter.
DAVID
Why didn't The Sun print the story?
DENTON
Because it never happened.
DAVID/ALL
Never happened; whattaya mean? Etc.
(CONTINUED)
)P( 5/1/91 BLUE (2) 83. *
119 CONTINUED: 119

DENTON
If it's not in the papers, then
it never happened. The owners
decreed that it not be in the
papers, therefore...
(beat)
I just came to tell you fellows
goodbye.
They exchange puzzled looks. David sees Denton's
expression.
DAVID
Denton, what's happened -- you get
fired or somethin'?
Denton forces a breezy tone.

DENTON
Reassigned -- back to my old job
as The Sun's ace war correspondent.
The owner thinks I should be
covering only the 'really important'
stories. So wish me luck, boys.
At least half what I wish you.
(to David)
They don't always fire you, David.
He moves off; David, stunned, hurries after him.
DAVID
They bought you off... didn't they?
Didn't they!
DENTON
They could've blackballed me from
every paper in the country. I'm
a newspaperman, I have to have a
paper to write for.
He looks at David; hurt, betrayed, angry; wishes there
was more he could say. He hands him something from his
coat.
DENTON
This is the story I wrote about
the rally. I want you to read
it at least.
He hands it to David and goes. David returns to the
others, angrily crumpling the story and hurling it onto
the table. The boys look puzzled; Les, still eating
the sausage, picks up the story and looks at it
curiously.
(CONTINUED)
)P( 5/1/91 BLUE (2) 84.

DAVID *
(decisively) *
We bust Jack out of the Refuge *
tonight. From now on, we depend *
on nobody but the Newsies. *
119A OMITTED 119A
119B EXT. HOUSE OF REFUGE/WALL - NIGHT 119B
David leads Spot, Blink, Boots, Mush, Race as they crouch

and creep along the wall. Spot carries a rope. David
looks up, searching for a window. Indicates one.
DAVID
That's where we saw Crutchy...
He starts to throw up the rope when Boots hisses from the
corner, beckoning furiously. They hurry over and peek
around the corner to see --
120 EXT. HOUSE OF REFUGE - COURTYARD - NIGHT 120

A carriage is waiting. The boys watch as a door opens
and two figures emerge. One is Snyder, the other is
Jack. They get into the carriage and it starts toward
the boys -- who quickly duck out of sight as it CLIP-
CLOPS past and enters the street.
MUSH
Where they takin' him...?
DAVID
One way to find out. Meet me back
at the square!
David runs after the carriage, leaping onto its back. He
flashes the high-sign to the boys as the carriage moves
off into the night.
121 OMITTED 121
& &
122 122
123 EXT. PULITZER MANSION - NIGHT 123

David hangs on to the back of the carriage, peering
around to see some huge stone gates as it moves into a
circular drive and stops. He sees a figure waiting:
(CONTINUED)
4/19/91 CHERRY 85.
123 CONTINUED: 123

SEITZ
Get him inside.
David watches as Jack is led inside by Snyder.
124 OMITTED 124
125 INT. PULITZER'S MANSION - NIGHT 125
A butler leads Seitz, Snyder and Jack across a marbled

floor, their FOOTSTEPS ECHOING in the luxurious hall.
JACK
Very impressive. So where do they
keep the trains in this station?
Seitz shows him into an elegant library. Snyder tries to
follow but Seitz stops him, closing the doors. Inside,
Jack looks around to see the imposing figure of Pulitzer
staring at him, framed by luxurious furnishings. For a
moment, the two just stare at each other. Then --
JACK
(grins)
Sorry to see you ain't doin' so
good, Joe. *
126 EXT. MANSION - AT CARRIAGE - NIGHT 126

The Driver strolls around the rear of the carriage --
just as David slips beneath it and begins to crawl care-
fully toward the front. Finding the lynch-pin that
hitches the horses to the carriage, he reaches for it --
just as the horse snorts and pulls the carriage forward a
few steps. The Driver hurries back to the reins. With
the Driver's boots a few inches from his face, David
waits for another chance...
127 INT. PULITZER'S STUDY - NIGHT 127

Pulitzer paces, watching Jack look at the books, the
art, at framed front pages; headlines of the world's
great events...
(CONTINUED)
)P( 5/1/91 BLUE (2) 86. *
127 CONTINUED: 127

PULITZER
Know what I was doing when I was
your age? I was in a war. The
Civil War.
JACK
I heard of it. You win?
PULITZER
People think wars are about right
and wrong. They're not. They're
about power. You know what power
is?
JACK
Heard of that, too. I don't just
sell ya papes, Joe. Sometimes
I read 'em.
Pulitzer ignores the impudence, continues quietly.
PULITZER
Power means that I could see to it
that you serve your full sentence
at the Refuge. Or I could pull
strings and have you free tomorrow.
It means I could give you my
pocket change -- and you'd have
more money than you'd likely ever
earn.
JACK
You bribin' me, Joe? Thanks for
the compliment, but I ain't got
the power to stop the strike --
PULITZER
I disagree. You're the spirit of
the strike, without you, they'd
fall apart in a few days.
JACK
Ring for my coach, willya? It's
past my bedtime --
PULITZER
Shut your mouth and listen !
(as Jack looks
up, startled)
You're going to do exactly as
I say --
(CONTINUED)
)P( 5/1/91 BLUE (2) 87. *

JACK
-- or what? You'll send me back
to the Refuge? I'll bust out
again --
PULITZER
-- and be a fugitive who's pursued
and caught and returned. I'm
offering you a choice -- is that
what you choose?
JACK
I told ya... I can't call off the
strike.
PULITZER
I'm not asking you to. All I ask
is that you return to your old
job -- as Newsie for the The World.
JACK
And be a scab? Forget it --
PULITZER
For a few days. Then the strike
ends -- and it will end, boy, make
no mistake -- and you can go
wherever you want to buy a ticket.
Free and clear, with money in your
pocket... and no one chasing you.
Jack is silent, troubled. Pulitzer pushes a buzzer.
PULITZER
You go back to the Refuge. Think
it over in your cell. Let me know
in the morning.
128 EXT. PULITZER'S HOUSE - NIGHT 128
David is hiding by the gates with the lynch-pin in his

hand. Snyder is waiting by the carriage. The front door
opens -- Seitz and Jack walk out and appear at the top of
the entrance stairs. David calls out --
DAVID
Jack!
(CONTINUED)
)P( 5/1/91 BLUE (2) 88. *
128 CONTINUED: 128

Jack is surprised. He looks at Snyder and Seitz, pulls
away from Seitz, slides down a bannister, and leaps to
the ground. Snyder lunges for Jack, who manages to evade
Snyder's reach.
SNYDER
(to the driver)
After him!
The driver whips the horse forward but is jerked off his
seat as the carriage separates. The horse runs off.
Amidst the confusion, David and Jack tear through the
gates way ahead of Snyder.
SEITZ
(stepping up to Snyder)
Don't worry. He's got no place to go.
128A EXT. NEARBY STREET/STONE PILLAR - NIGHT (SECONDS LATER) 128A

At the pillar, Jack stops running.
DAVID
Why're you stoppin' -- we've got
to run!
JACK
You shouldn't'a done this, David.
They could put you in jail --
DAVID
It's worth it -- let's go --
JACK
You go to jail, what happens to
your family? You don't know
nothin' about jail! Thanks for
what you done, but you gotta get
outta here --
DAVID
I don't understand --
JACK
I don't either -- I don't
understand nothin' no more!
Jack pushes David down the street.
JACK
Just go!
(CONTINUED)
)P( 5/1/91 BLUE (2) 89. *

David looks over his shoulder and runs off, leaving Jack
alone on the street. Jack steps into the shadows as we...
CUT TO:
128B INT. HOUSE OF REFUGE 128B
As Jack steps back into the light, the CAMERA WIDENS and
we realize he's back in the House of Refuge. Jack begins
to sing softly: REPRISE: "SANTA FE."
Jack sits in a small dark room -- an isolation room;

moonlight shines through barred windows; there's a door
with a small serving panel in it.
JACK
SANTA FE
MY OLD FRIEND
I CAN'T SPEND MY WHOLE LIFE
HIDIN'
YOU'RE THE ONLY LIGHT THAT'S
GUIDIN' ME TODAY
Jack looks up as the serving panel opens and Crutchy
peers through, offering him something furtively: a
boiled potato.
CRUTCHY
Snitched it offa Snyder's plate
when I was servin' him -- the
biggest one!
(as Jack shakes his
head, looks away)
Snyder was eatin' good tonight --
the stuff we don't never get? *
Patatas... olives...
(mouth watering)
... liver and bacon. Sauerkraut...
(grins)
Guess what I done to his sauerkraut.
JACK
(irritably)
So what's it git'cha?
CRUTCHY
Anudder three months, prob'ly.
But you can't let 'em beat'cha,
right, Jack?
JACK
We was beat when we was born.
Crutchy, concerned, hears something and closes the panel.
(CONTINUED)
)P( 5/1/91 BLUE (2) 89A.
128B CONTINUED: 128B

JACK
Jack looks at the WILL YOU KEEP A CANDLE
moonlight shining BURNIN'?
through the bars... WILL YOU HELP ME FIND MY
WAY?
YOU'RE MY CHANCE
TO BREAK FREE
AND WHO KNOWS WHEN MY NEXT
ONE WILL BE?
SANTA FE
WAIT FOR ME
129 OMITTED 129

thru thru
140 140
141 EXT. NEWSIE SQUARE - AT GATES - MORNING 141

The Newsies chant at the crowd in the courtyard:
(CONTINUED)
)O( 4/26/91 IVORY 90. *
141 CONTINUED: 141

NEWSIES
Stop The World -- don't scab, stop
The World -- don't scab, etc.
David moves among them, looking like a leader now.
DAVID
Nobody sells a pape today -- we're
hurtin' them and they know it!
Remember -- no soakin', no hittin'
-- etc.
The gates open, the wagons start out, followed by nervous

scabs flanked by cops and goons. The chant builds as the
scabs parade by, then suddenly --
SPOT
Look... I'm seein' t'ings... tell
me I'm seeing t'ings -- !
David and the others look in disbelief -- walking with
the scabs is Jack, wearing a tight new suit, flanked by
Weasel and other goons. As Jack moves past, staring
straight ahead, the chant dies...
RACETRACK
What's he doin' with the
scabs...?
KID BLINK
It ain't happenin'... it
can't be happenin'...
MUSH
Hey, Jack -- it's me,
Mush, lookit me --
look, willya?
BOOTS
Where'd he get them
clothes -- ?
WEASEL
(as he passes)
Mr. Pulitzer picked 'em out
hisself. A special gift to a
special new employee. Only not
so new, huh, cowboy?
SPOT
He sold us out! Ya dirty scab,
I'll murder ya -- !
Spot tries to bust through the goons but they hurl him
back. David, confused, angry, runs alongside Jack,
shouting across the smirking Weasel as they march
along --
(CONTINUED)
)O( 4/26/91 IVORY 91. *

DAVID
This is why you wouldn't escape
last night -- why'd you do it?
Talk to me, you liar! What else
did he give you to sell us out --
money? What else? Look at me!
(as Jack keeps
walking)
You lie about everything --
headlines, your family --
(as Jack keeps look-
ing straight ahead)
-- because nobody counts but you
-- nobody or nothing! Look at me.
David lunges for him and Weasel grabs him, hissing.
WEASEL
I'm gonna be lookin' for you,
wiseguy --
(grins)
-- or maybe you'd like a nice new
suit of your own.
David twists away, tries to rally the Newsies.

DAVID
Keep after them -- we don't need
him!
(starts the chant)
Stop The World -- don't scab! Etc.
Some chant halfheartedly, confused, demoralized. A few
toss down their picket signs in disgust. David moves
among them, desperately trying to keep the chant going.
The scabs move on, passing Les, who gives Jack a stricken
look as he moves away.
LES
(to himself)
He's just foolin' 'em... so he can
spy on them or something...
(with certainty)
That's it. He's spyin' on 'em.
He's gotta be.
142 OMITTED 142

& &
143 143
144 INT. DAVID'S APARTMENT - DAY 144

David sits in the window, brooding.
(CONTINUED)
)O( 4/26/91 IVORY 92.

Mayer is removing the bandage from his injured hand,
helped by Les. Sarah and Esther work on lace piecework.
ESTHER
That hand is not ready to work.
Mayer flexes his fingers, pale from being bandaged so

long.
(CONTINUED)
PINK 3/28/91 93.
144 CONTINUED: 144

MAYER
Ready or not, it can handle a
broom.
He gets his coat; Sarah, looking for something, finds a
stained paper package under a sewing basket.
SARAH
(holds up the package
distastefully)
What is this?
LES
Hey -- I'm saving that!
He grabs the package and unwraps it -- revealing a half-

eaten knockwurst -- throwing the wrapping on the floor.
Irritably Sarah starts to throw it away when she sees it
has writing on it.
MAYER
(to David)
Don't be too hard on your friend.
Maybe he had his reasons for doing
what he did.
LES
(chewing knockwurst)
I told you. He's spyin' on 'em.
MAYER
There. You see?
Mayer smiles and goes. Sarah moves to David with the
stained papers.
SARAH
It's Denton's story. 'The Dark
Truth: Why Our City Really Fears
the Newsie Strike, by Bryan
Denton. Last night I saw naked
force exercised against mere boys,
the Newsies, who earn at best a
few pennies a day. I wondered why
so much, against so little -- '
David refuses to listen; he angrily steps out on the fire

escape and stares off into the city. Sarah keeps reading
to herself. What she reads disturbs her.
145 OMITTED 145

& &
146 146
4/19/91 CHERRY 94.
147 INT. DORM/NEWSIES LODGING HOUSE - NIGHT 147

The gang looks sullenly at the door where Kloppman is
ushering in two policemen.
KLOPPMAN
He will only be a minute. Please,
no trouble.
A policeman stands aside and Jack enters, in the new

suit. Utter silence. The police escort him the length
of the dorm and into --
147A INT. WASHROOM - NIGHT 147A

Jack goes straight to his hiding place and removes the
box. He looks inside and is startled --
-- a dead rat is inside the box, covered with tiny pieces

of the photograph with his family. His money is gone.
He tosses the box aside; his eyes hardening. The police
escort him back into --
148 INT. DORM - NIGHT 148

A few snickers as he moves toward his bed. Racetrack
stands holding a bundle of Jack's belongings: he shoves
it into Jack's chest and does his Delancey routine.
RACETRACK
Dear me, what is dat unpleasant
aroma -- ?
(as Jack's fists
clench)
Go on, take a shot -- I bust your
scab face, ya yellow-livered, *
rotten stinkin' piecea garbage! *
Jack just looks at him, unclenches his fists. He moves

for the door, as one by one the Newsies turn their backs
on him.
149 OMITTED 149

thru thru
151 151
152 INT. WORLD BUILDING - BASEMENT - NIGHT 152
The BIG PRESSES POUND RHYTHMICALLY somewhere O.S. in the

building. A candle illuminates Weasel's gloating face as
he leads Jack down a flight of RICKETY STAIRS.
(CONTINUED)
4/19/91 CHERRY 95. *
152 CONTINUED: 152

WEASEL
(over the noise)
Mr. Pulitzer says nothin' but the
best for you, cowboy. He takes
care of his loyal employees -- and
he's put me personally in charge
of seein' that you stay a loyal
employee.
He opens a door and they enter --
153 INT. OLD PRESS ROOM - NIGHT 153

Weasel lights a lantern and Jack sees a wooden bed,
an old printing press, junk, all covered with dust.
WEASEL
You try any tricks, and I go
straight to Mr. Pulitzer.
(grins)
Will you be requirin' anything
else? Then I bid you good night.
He goes. The great PRESSES THUNDER heavily somewhere in

the building above, like a judgment. Jack looks at the
bleak room, buried in dust and noise.
154 OMITTED 154
155 EXT. CIRCULATION WINDOW - MORNING 155
With the other scabs, Jack steps up for his papers.

Weasel shows his usual charm.
WEASEL
Sleep well, cowboy...?
Jack ignores him, moves off with his papers. The
Delanceys pass by; Morris grinning at him, bouncing a
club in his hand.
OSCAR
Come wit' us, cowboy -- we're
gonna fix your pal Davey today --
fix 'im so's he can't walk no more.
MORRIS
Shuddup!
He backhands Morris in the chops and they move on. Jack

starts after them, alarmed -- then he sees Weasel.
(CONTINUED)
4/19/91 CHERRY 96. *
155 CONTINUED: 155

WEASEL
Lift one finger... and you're
right back in the Refuge.
Jack stops, torn. He nods meekly, moves off. Weasel
looks satisfied.
156 OMITTED 156
157 EXT. BAXTER STREET - DAY 157

Sarah, with a basket of lacework, is coming down the
street, Les dawdling behind, in a bad mood.
SARAH
Les, come on -- you're supposed to
be helping me today.
LES
(sulking)
I'd rather be soakin' scabs.
He stops to kibbitz a game of marbles in an alley.

Sarah walks on -- suddenly a man steps in front of her.
OSCAR
(grinning)
'Scuse me, sweetface.
She tries to step around him but Morris is there. He
"accidentally" knocks her lacework into the gutter. Les
sees it -- and races towards the Delanceys --
LES
Get away from my sister!
He flails at Morris -- who effortlessly shoves him flat

on his bottom and turns, grinning, to Sarah.
MORRIS
Where's ya brudder, tootsie?
Where's little Davey...?
SARAH
(calmly)
You... stupid... ape!
On "ape," she socks him square in the grin -- he recoils,
licking a bloody lip. Behind him, she sees David
rounding the corner --
(CONTINUED)
)O( 4/25/91 GREY 97.
157 CONTINUED: 157

SARAH
David! Run -- get away!
Oscar grabs Sarah from behind and lifts her up, taunting.
OSCAR
Yeah, run, Davey! We got the best
parta ya family right here!
David, furious, runs down the sidewalk towards them.
Morris slips on some brass knuckles in anticipation.
Sarah struggles, screaming --
SARAH
David, no -- don't -- !
Oscar hangs on to Sarah, enjoying himself -- suddenly,

from behind, two hands grab the rim of his derby and jerk
it down to the bridge of his nose. Blinded, he releases
Sarah and staggers around, trying to pry the hat off his
eyes. Les looks up to see --
LES
Jack!
Jack flashes him a grin as he works on Morris's bread
basket. Just as Oscar frees himself from the derby,
David leaps on him like a fury. Punches fly and the
Delanceys beat a quick retreat down the sidewalk, yelling
back --
MORRIS
Ya better run, cowboy --
we're tellin' Weasel! You'll
be back in the Refuge by
supper time! OSCAR
Yeah, run, ya lousy
coward -- run!
But they're the ones running. David, catching his
breath, looks at Jack, beginning to understand.
DAVID
Couldn't stay away, huh. *
JACK
Guess I can't be somethin' I ain't.
DAVID
A scab...? *
JACK
Nah. Smart. *
Jack shrugs, smiles. David looks at him worriedly.

)O( 4/25/91 GREY A97A.
158 OMITTED 158

thru thru
160B 160B
)R( 5/8/91 - PINK (2) 97A. *
160C EXT. DAVID'S FIRE ESCAPE - DAY (LATER) 160C

Jack, David, Sarah thoughtfully on the escape.
DAVID
Without you, the strike's falling
apart...
JACK
I got no choice. I stay here,
they lock me up 'til I'm twenty-
one.
Les clambers out with a pair of Mayer's cast-off high-

button shoes.
LES
Jack, for the trip -- a pair of
cowboy boots! Sorta.
Mayer with a bundle of clothes; Esther with food come to
the window. She gives it to Jack.
ESTHER
Who knows what's to eat where
you're going?
MAYER
(gives the clothes)
A few things of mine and David's.
Wish we had money to give you...
JACK
(very moved)
Who needs it...? I go down to the
train yards, hop me a freight, go
in the best style -- free...
MAYER
I don't know what's waiting for
you in Santa Fe, but you'll always
have family here.
They embrace him and move away. An awkward moment --

Jack picks up the bundle to go and --
SARAH
(decisively)
You're not going to run away.
They'll just come after you. You
have to fight them.
(CONTINUED)
)R( 5/8/91 - PINK (2) 98. *
160C CONTINUED: 160C

JACK
They got it all wrapped up, Sarah
and nothin' I can do is gonna make
one bit of difference.
SARAH
You're wrong. You touched people
you don't even know about.
She removes the stained pages from her shawl.
SARAH
Denton's story.
JACK
Denton looked out for hisself just
like I gotta do -- so save it.
SARAH
Just listen! 'The men who run
this city are terrified of the
Newsies strike -- because other
child laborers in the factories
and sweatshops are hearing the
message of the Newsies leader --'
LES
That's you! He's writin' about you!
SARAH
'In the voice of Jack Kelly, these
children hear strength and pride.
Most of all, they hear hope...'
Jack listens questioningly.

JACK
Keep reading.
Can these words really be about him...? As we GO TO --
160D EXT. ALLEY - LATE AFTERNOON 160D

Denton reads his own words:
DENTON
' -- And that is what terrifies
the powers-that-be, for they know
our city thrives on the shame of
child labor. Therefore, Jack
Kelly's voice must be stopped,
whatever the cost...
(stops)
Damn good writing, isn't it?
(CONTINUED)
)R( 5/8/91 - PINK (2) 99.
160D CONTINUED: 160D

Jack has listened somberly, moved.
JACK
All them sweatshop kids are
listenin' to me...?
(CONTINUED)
)O( 4/26/91 IVORY 100. *
160D CONTINUED: 160D

DENTON
They think if the Newsies can do
it, why can't they? All they need
is a leader.
JACK
The minute I show my face, I'm
back in the Refuge.
DENTON
You'd have help this time. I've
been investigating the Refuge -- I
know somebody who's going to be
very interested in Snyder's little
racket.
DAVID
(wryly)
What happened to the ace war
correspondent?
DENTON
This war'll do for now.
SARAH
Whatever happens, it's Jack's
decision. He's the one in danger.
They look expectantly as he stares off, deep in thought.
LES
Jack...? You thinkin'...?
JACK
Yeah... I'm thinkin' of Newsie
Square full of kids...
DAVID
(picks it up)
... Another rally, right under
Pulitzer's nose, and not just the
Newsies --
JACK
-- Every workin' kid from every
sweatshop in New York. We gotta
get the word out -- let's go get
the Newsies --
(catches himself)
They still think I'm a scab...
LES
I'll tell 'em you was a spy!
(CONTINUED)
)O( 4/26/91 IVORY 101. *
160D CONTINUED: (2) 160D

DENTON
How're you gonna reach all these
people? No paper in New York will
print anything about the strike.
JACK
We're Newsies, ain't we? So we
make our own paper.
DAVID
Be quiet and let me think.
JACK
Whattaya need to start a paper?
Writers, right? So we got Denton.
What else?
LES
Advertisements!
(as they look at him)
Cartoons?
DENTON
(the cold facts)
A printing press. And no paper or
printer is going to defy Pulitzer.
The others look discouraged; Jack's thinking again.
JACK
Les. Go set me straight with the
Newsies, okay? Tell 'em to meet
us later at the World Building.
Les races off on his mission; the others look question-

ingly at Jack.
JACK
So happens I know a guy with a
printing press.
161 OMITTED 161

thru thru
165 165
165A INT. WORLD PRESS ROOM - PULITZER'S PRESSES - NIGHT 165A

The huge PRESSES pound out papers; a LOUD THUDDING rhythm
shakes the building --
PINK 4/1/91 102.
165B INT. WORLD BLDG. - BASEMENT (AS IN SC. 152) - NIGHT 165B
The THUDDING rhythm seems very near. Jack leads Sarah,
David, Denton, Les down the rickety stairs with a candle.
JACK
They're right above us -- and if
Weasel catches us, it won't be
just me they'll throw in the
slammer --
They can barely hear over the DIN of the PRESSES.
SARAH
What -- ?
JACK
I said shhhh! -- or we all go to
jail!
The others shush him hastily; MUSIC BEGINS as they
go into --
166 INT. BASEMENT PRESS ROOM - NIGHT 166
Denton heads straight for the old press, checking it over

expertly. Jack directs the others to ink, paper, etc.,
as --
MUSICAL NUMBER: "THE POINT OF NO RETURN" BEGINS:
DAVID
WHAT'S THAT?
JACK
SHHH! YOU'RE MAKIN' ME NERVOUS!
DAVID
SORRY.
SARAH
WATCH OUT!
DAVID
THERE'S SOMEBODY THERE.
SARAH
WHERE?
JACK
STAY CALM!
DAVID/SARAH
BUT --
(CONTINUED)
4/8/91 YELLOW 103.
166 CONTINUED: 166

JACK
I'M BEGGIN' YA!
CHEESE IT, SOUSE IT.
CHOKE IT, DOUSE IT.
DAVID *
But -- *
JACK
DON'T YOU BUMMERS GET WHAT I'M
SAYIN'
THIS AIN'T HIDE AND SEEK THAT *
WE'RE PLAYIN'
ONE FALSE STEP AND THEY'LL BE
IN HERE
ONE STRAY HAIR, THEY'LL KNOW
WE BEEN HERE
QUESTIONS -- IT'S TOO LATE
FOR 'EM
ANSWERS -- WE CAN'T WAIT FOR
'EM
WE'RE AT THE POINT OF NO
RETURN
Denton finds the type-

font: David is ready to
ink the rollers. A NOISE
O.S. makes them freeze.
Jack puts his finger to DENTON
his lips; hoists Les up to WHO'S THAT?
the window to be a lookout.
DAVID
IS SOMEBODY COMING?
LES
NOT THAT I CAN SEE.
David tosses some candles
to Sarah; she lights them DAVID
for Denton as he works. NICE CATCH.
SARAH
THANKS.
Jack finds a roll of
newsprint. JACK
THAT OUGHTA GO THERE. *
SARAH
BRING THOSE OVER.
(CONTINUED)
4/8/91 YELLOW 103A.

DENTON
THAT'S IT YOU'RE GETTING IT
KEEP IT STEADY
ALMOST READY
JACK WON'T BE LONG 'TIL SOMEBODY
CHOKE IT GUESSES
THEY GOT PROWLERS INKING
CHEESE IT THEIR PRESSES
(CONTINUED)
PINK 4/1/91 104.

DENTON/JACK
RIGHT OR WRONG WE'RE ON THE LAM NOW
SARAH
TOO LOUD! SOMEONE'S OVER US!
DENTON/JACK
RIGHT OR WRONG AIN'T WORTH A DAMN NOW!
DAVID
TOO LATE, GOTTA FINISH IT.
JACK/DENTON DAVID/SARAH
SOME THINGS SMART WE AIN'T
ARE WORTH TRYING FOR
SOME DREAMS MOM WOULD FAINT
ARE WORTH DYING FOR
EVERYBODY
WE'RE AT THE POINT OF NO RETURN!
LES DAVID
AND THE WORLD WILL KNOW NOW WE HAVE TO WRITE A HEADLINE
YOU GOTTA HAVE A HEADLINE
JACK
WHAT WE'VE COME TO SAY DENTON OUGHTA DO IT
HE KNOWS ABOUT THE HEADLINES
AND THEY ALL REMEMBER US SOMETHING REALLY FLASHY
AND TALK ABOUT THE NIGHT SO EVERYONE REMEMBERS
AND DON'T FORGET TO PUT IN
THERE
WE SEIZED THE DAY THAT KIDS FROM EVERYWHERE
WILL BE AT NEWSIES' SQUARE
During the above, Sarah holds a candle for Denton as he
sets a headline in very large type: HOW WE CAN SHOW
THIS CITY -- David has a better idea: he grabs some type
and resets the headline: HOW WE CAN STOP THIS CITY.
Meanwhile, Jack hits the switch and the PRESS HUMS to
life.
JACK/DENTON
THEY'RE HITCHIN' ON A TROLLEY
RIDIN' ON A WAGON
STOWIN' ON THE FERRY
COME TO SLAY THE DRAGON
JACK/DENTON DAVID/SARAH
HAILIN' FROM CANARSIE SOFTER
BENSONHURST AND CHELSEA KEEP IT QUIET NOW
ASTORIA AND BRIGHTON BEACH FASTER
LET ME TRY IT NOW
(CONTINUED)
)P( 5/1/91 BLUE (2) 105.

LES
AND SHEEPSHEAD BAY!
INSTRUMENTAL break. *
DENTON/SARAH JACK/DAVID
TIME IS UP NEWSIES ON A DEADLINE
LET'S JUST CLEAR OUT NOW GOTTA WRITE THE HEADLINE
LUCK IS WHAT IT'S ALL ABOUT *
NOW * NEWSIES ON A MISSION
TOO BAD PRINT THE NEXT EDITION
THINGS GOT BLISTERY SHOW THE DIRTY LIARS
TOO LATE WE CAN MAKE SOME FIRES
THIS IS HISTORY THANK YOU, MR. PULITZER
THAT'S RIGHT FOR HELPIN' WITH THE FLYERS
TAKE THE HEAT OR YOU BURN! THANK YOU FOR THE HALL
THANK YOU FOR ALL YOUR
CONCERN
LES
AND OUR RANKS WILL GROW
AND THE WORLD WILL LEARN --
ALL
SHHHHHHH!
(NOTE: During the above, several QUICK CUTS or DISSOLVES
should give the impression that they've worked through
the night:)
A) Lead type being rapidly hand-set by Denton, helped
by David -- a sub-headline forms: "House of Refuge,
House of Shame."
B) Papers -- "THE NEWSIE NEWS" -- start rolling off the
press as they examine it proudly.
C) They fold and bundle the papers, happy but exhausted.

D) Pale pre-dawn light shines through the window framing
Les as they pass him bundles of papers and he passes
them out the window to --
166A EXT. WORLD BUILDING - PRE-DAWN 166A
MUSIC CONTINUES. Race, Boots, Blink, Mush take the

papers from Les and toss them into Kloppman's wagon --
he's on the driver's seat, keeping a lookout. Sarah *
climbs out the window, followed by the others. The last *
out is Jack -- carrying his belongings in a rolled bundle *
-- when he and the Newsies see each other, they freeze *
awkwardly. Silence until -- *
(CONTINUED)
)P( 5/1/91 BLUE (2) 106. *

RACETRACK
You thinkin' you'd like to take a
shot at my schnozz -- right?
(beat)
Five to one says you can't break
it.
Jack laughs -- the tension breaks. Hugs and backslaps

as they climb onto the wagon.
DAVID
The cops are looking for Jack --
we gotta protect him --
KID BLINK
Any bull comes after jack, they
gotta go through all of us.
BOOTS
What's with the bundle, Jack -- ya
leavin'?
JACK
Sante Fe bound, Boots -- but not
without givin' Pulitzer one last
kiss goodbye --
KLOPPMAN
Boys -- !
He points frantically at Weasel crossing the square
towards them. They duck quickly -- and he weaves past
whistling tunelessly, drunk. As Kloppman eases the
wagon away, everybody looks back, shouts --
EVERYBODY
Hey, Weasel... Good ni-ight!
He looks around blearily: must be the d.t.'s.

EVERYBODY
RETURN!
RETURN!
166B OMITTED 166B

thru thru
185 185
)P( 5/1/91 BLUE (2) 106A. *
185A HUNDREDS OF COPIES OF THE NEWSIE NEWS (OPTICAL) 185A

swirl and cascade, FILLING the SCREEN as we see
SUPERIMPOSED a series of living portraits of the
working children of the 1890s... young boys in too-
large caps and too-small coats, holding lunchpails...
holding picks and shovels far too large for them...
girls in shapeless dresses sewing, or scrubbing...
shining eyes, dirty faces... sad expressions beginning
to bloom into hope as they snatch and read the news that
the headline proclaims as it whirls TOWARD us ON the
SCREEN: HOW WE CAN STOP THIS CITY!
We see that same headline across --
185B INT. MANSION - BACK OF MAN'S HEAD - MORNING 185B
as he reads the Newsie News at breakfast attended by a

butler (the Rough Rider) in a khaki uniform. He's
reading a headline: "HOUSE OF REFUGE, HOUSE OF SHAME"
with a subhead beneath it: "SCANDAL HIDDEN FROM TEDDY
ON VISIT." We glimpse a famous walrus mustache as the
Man slams his fist on the table in anger. A figure steps
INTO FRAME across the table: Denton.
DENTON
I thought you'd feel that way,
Governor Roosevelt.
TEDDY ROOSEVELT (MAN)
Dis-graceful, Denty! Those poor
boys -- and I did nothing!
(pure steel)
Until now!
The Rough Rider snaps out a silk hat and a silverheaded

walking stick. Teddy snatches them as if they were
armor.
186 OMITTED 186
187 EXT. NEWSIE SQUARE - DAY 187

Our Newsies look anxiously around the square, empty
except for them. They take pains to conceal Jack among
them.
MUSH
So when's the others comin',
Cowboy?
Jack looks glumly at the empty square; at the gates of

the World where Weasel and his goons are beginning to
line up, clubs in hand.
(CONTINUED)
)P( 5/1/91 BLUE (2) 107.

JACK
They ain't comin'... There ain't
gonna be nobody but us...
The boys are silent, disappointed, feeling alone and
defeated.
(CONTINUED)
)J( 4/22/91 TAN 108.
187 CONTINUED: 187

Then Les steps forward, a defiant look on his face,
glaring at the goons beyond the gates. He sings out
loud and clear --
REPRISE: "AND THE WORLD WILL KNOW"
LES
WHEN THE CIRCULATION BELL
STARTS RINGING, WILL WE
HEAR IT?
A group of Factory Boys RACETRACK

appears in the square; NO!
followed by others. The WHAT IF THE DELANCEYS COME
boys begin to take heart -- OUT SWINGING, WILL WE HEAR
IT?
LES
NO!
NEWSIES
WHEN YA GOT A MILLION VOICES
More kids are appearing; SINGING, WHO CAN HEAR A LOUSY
messengers, garment girls, WHISTLE BLOW?
kids of all kinds --
ALL
AND THE WORLD WILL KNOW!
Kids are coming from everywhere, filling the square --
Spot and the Brooklyn Newsies; more and more kids,
cheering, waving the Newsie News -- Jack and David laugh
in triumph as shouting and MUSIC RISES UP TO --
ALL
AND THE WORLD WILL FEEL THE
FIRE AND FIN'LLY KNOW
188 INT. PULITZER'S OFFICE - DAY 188 *

The SONG RESONATES in the golden dome; Pulitzer stares
down at the crowd as the mayor, sweating as usual, waves
the Newsies' paper at him. Seitz sits reading a copy,
impressed, as Jonathan fields phone calls.
(CONTINUED)
PINK 4/1/91 109.
188 CONTINUED: 188

MAYOR
They're all yelling at me -- me!
-- factory owners, bankers,
businessmen -- the whole city's at
a standstill and they're blaming it
on me -- !
PULITZER
(not listening)
Kelly's down there. He should be
back in jail.
SEITZ
(with the Newsie
News)
Those kids got out a pretty good
paper, Chief.
PULITZER
Too good! Those illiterate
guttersnipes couldn't have done
this on their own. Somebody's
behind this, trying to pull a
fast one...
JONATHAN
Mr. Hearst on the line, sir. Wants
to know if you've read the Newsies'
paper?
Pulitzer glowers in suspicion at the telephone.
MAYOR
I'm not taking the heat for this --
you've got to talk to them --
settle it --
PULITZER
Tell Hearst I'm busy!
(ominously)
I'll settle it all right -- once
and for all.
188A EXT. WORLD BUILDING - DAY 188A
The huge doors of the World Building open and Seitz

marches out, flanked by guards. The crowd opens a path
as he marches up to Jack and David.
SEITZ
It's time to talk.
(CONTINUED)
GOLDENROD 4/12/91 110. *

JACK
Like I said, I don't transact
business with no office boys. We
talk to old Joe hisself or we
don't talk. Period.
The Newsies love it. Seitz stiffles a smile at Jack's

bravado -- a smile of admiration.
SEITZ
Then I guess you talk.
Jack beckons David to follow as they enter the huge

doors and --
188B INT. PULITZER'S OFFICE - MORE HUGE DOORS - DAY 188B

open as Seitz ushers them inside, closes the doors,
leaving them alone. Pulitzer waits by the windows, a
looming shadowy figure; sounds of CHANTING, SHOUTING
floating up from below. David is awed by the palatial
office, but Jack saunters coolly to the windows past --
PULITZER
You're going to listen to me,
boy --
JACK
I'd like to, Joe --
(opens a window;
crowd noise pours
in)
-- but I can't hear ya.
PULITZER
We had a deal -- you broke it.
You're going back to jail.
JACK
Maybe. But you can't put every
kid in that square in jail. They
ain't goin' away, Joe.
PULITZER
Neither am I. I can wait them
out. It won't be me that's hurt.
JACK
You sure about that?
He nods at David who produces a paper, reads:

(CONTINUED)
GOLDENROD 4/12/91 111. *

DAVID
'Since the strike, the World's
circulation has dropped 70 per
cent; advertising has been cut
in half -- '
(stops reading)
Every day you lose thousands of
dollars -- just so you can beat
us out of a lousy tenth of a cent
per paper. Why?
JACK
It ain't about money, Dave -- if
Joe gives in, that would mean
nothin's like us got power. He
can't let that happen -- no matter
what it costs him. Right, Joe?
PULITZER
I'm about to show you what power
really is...
He slams the window shut; CROWD NOISE abruptly DROPS --
PULITZER
I have the police outside waiting
to arrest you --
DAVID
You lousy double-crossing -- !
PULITZER
-- then I'll deal with that rabble
in the street.
He's crossing to a buzzer on his desk; Jack, thinking
fast, snatches up a copy of the Newsies News.
JACK
Ya got me, Joe -- but tell me one
thing, willya? How'd ya like our
paper -- nice printin', ain't it?
Right off the presses of one of
New York's greatest newspapers --
That stops him. He looks at Jack, frowning.
PULITZER
All the papers have an agreement...
we print nothing about the
newsies. Whose press did you use?
(as Jack shrugs,
smiles)
It was Hearst, wasn't it...!
(CONTINUED)
GOLDENROD 4/12/91 112. *
188B CONTINUED: (2) 188B

JACK
(surprised)
Hearst? Nah, it was yo --
David quickly stops him, seeing the gleam in Pulitzer's
eyes.
PULITZER
I knew it. Whoever helped you
print this lying rag is trying to
break the strike, get the jump on
the rest of us. Well, you're
going to expose this backstabber
to the other owners -- in
exchange, I'll call off the
police.
Jack and David exchange glances, seeing an opening --

JACK
Not enough, Joe -- you gotta deal
with our demands. Otherwise, our
lips are sealed.
PULITZER
(impatiently)
All right, all right -- just say
the traitor's name. It's Hearst,
isn't it? Say it! Say the name
of the scoundrel whose press you
used so I can make him the
disgrace of the newspaper world!
Say his name, damn you!
He thunders over them, eyes blazing in triumph. The

boys say nothing, just smile up at him knowingly until
at last the horrible truth begins to dawn and --
JACK
We just wanna say, 'Thanks, Joe.'
(as he stares,
stunned)
And Hearst and them other owners?
Maybe they don't have to know.
Depends.
Pulitzer walks with stiff dignity to the window; from

below, the FAINT CHANTING floats seems deafening to his
ears.
PULITZER
Perhaps we can resolve our...
small differences.
David digs out their demands and prepares to read.
GOLDENROD 4/12/91 113. *
189 OMITTED 189

& &
190 190
191 EXT. NEWSIE SQUARE - DAY 191

Race, Boots, Les, etc. unpacking rotten fruit, getting
ready for action. They see several police moving into
the square -- including a paddy wagon.
RACE
We gotta warn Jack -- !
The others nod agreement -- but where is he? Then they

see --
192 OMITTED 192
193 EXT. COURTYARD - GATES OF THE WORLD - DAY 193

Behind Weasel and the line of goons Jack and David are
approaching, beaming in triumph. Seitz is with them.
Les quickly slips through the bars, running to tell Jack
-- but Weasel grabs him, shoves him back roughly --
LES
Jack -- ! Jack -- !
Weasel, surprised, sees Jack behind him.

WEASEL
I don't know how he got in here,
Mr. Seitz -- but I'll take care of
him, with pleasure. Just say the
word!
SEITZ
With pleasure. You're fired.
WEASEL
Come again...?
A tomato hits him in the face; he turns to see Les wiping
tomato juice off his hands.
LES
He said, you're fired.
Triumphant, Jack hoists Les over his shoulders:
JACK
The strike's over -- we beat 'em!
(CONTINUED)
)P( 5/1/91 BLUE (2) 114.
193 CONTINUED: 193

A huge roar goes up outside the gates -- they swing open
and the Newsies swarm in, engulfing Weasel and the
Delanceys -- trying to look like part of the gang -- as
they rush to mob Jack and David. Jack spots Sarah --
she's waving and pointing in alarm at something.
LES
(remembers)
The bulls! Jack -- the bulls!
Jack sees several police shoving through the crowd toward
him. He quickly deposits Les -- turns to run and sees --
-- Snyder right in front of him, hands behind his back.
Jack spins away and right into the arms of --
MacSWAIN
Easy, lad! You don't have to run
anymore -- not from the likes of
him anyway!
Jack looks again and sees Snyder's hands are handcuffed
behind him; two cops have him in custody. Denton is
there, smiling.
DENTON
We brought the Warden over to say
goodbye. Goodbye, Warden.
Jack watches, amazed, uncomprehending, as the cops move

Snyder to the paddy wagon. As the rear doors are opened,
several boys pile out -- former inmates of the Refuge,
including Tenpin. As Snyder is loaded in, the last boy
is coming out, crutch first --
CRUTCHY
(to Snyder)
Remember what I told ya -- first
t'ing ya do in jail, you make
friends with the rats, share what
you got in common --
(sees Jack)
Hiya, Jack! My leg tells me the
strike's over!
*
JACK
(confused)
Crutchy -- I don't get it. What
happened -- ?
(CONTINUED)
)P( 5/1/91 BLUE (2) 115. *

CRUTCHY
Ya orta seen it, Jack -- he came
chargin' into the Refuge wavin'
his walkin' stick like a sword and
he's leadin' this army of lawyers
and cops and Snyder's hidin' in
the patata bin --
JACK
What're you talkin' about -- who
come chargin' in?
CRUTCHY
Who? Your pal! Him!
He points O.S. -- Jack turns to see --
ELEGANT COACH
parked across the square. A Rough Rider opens the door
and a man leans forward -- a glimpse of silk hat and
walrus mustache as Teddy Roosevelt raises his walking
stick in salute to Jack across the square.
BACK TO SCENE
Jack is awestruck; so are the other Newsies gathering
around. Denton moves up to Jack.
DENTON
Governor Roosevelt's very grateful
that this problem was brought to
his attention. He'd like to offer
you a lift, anywhere you like.
This time, you ride inside.
Jack looks at the coach, torn. Boots holds the bundle of

belongings he gave him earlier. Suddenly Jack decides,
snaps his fingers, Boots tosses him the bundle.
JACK
Think he could drop me at the
train yards?
Denton moves off toward the coach. David, Sarah, Les

look stunned, dismayed -- Jack avoids their eyes. Behind
them, the BELL RINGS, the circulation window opens for
business -- a crowd of Newsies races to line up. The
gang looks at them hungrily, eager to return the work.
They look at Jack.
(CONTINUED)
)P( 5/1/91 BLUE (2) 116. *

RACETRACK
You really goin' this time...?
JACK
It's now or never, Racetrack.
RACETRACK
Won't be the same without ya.
Give ya even odds on that.
He shakes; the others crowd around. David looks on, left
out for the moment; Sarah and Les beside him.
KID BLINK
See ya in the funny papes,
cowboy --
JACK
Yeah, Blink, keep ya eye
peeled.
MUSH
(forced)
Ya hear what he said --
Blink says... ya hear
it?
BOOTS
We heard it.
(offering
marbles)
My best shooters. Never
know when ya need good
shooters.
SPOT
Take it easy, Jackie-
boy. Ya ever get in a
spot --
(spits in his
palm; shakes)
-- think of me.
CRUTCHY
Don't wanna alarm ya, Jack, but
what I hear, out West ain't like
New York at all -- it's fulla
bulls, for one t'ing -- not cops,
neither, but big ugly animals with
horns and --
JACK
(hugs him)
I'll miss ya, Crutch.
Crutchy hobbles off to the dock. Jack looks off at the
waiting coach, then holds out his hand to Les, who runs
up and clings to him.
(CONTINUED)
)P( 5/1/91 BLUE (2) 117. *

JACK
I ain't no good at writin' and
stuff but... I'll be thinkin' of
ya...
SARAH
You don't have to run away anymore,
Jack. You have a choice now.
DAVID
We won today, but the fight's not
over. You're needed, Jack. We
need you. Here.
He stands, looking at them.
JACK
Maybe that's what scares me...
Suddenly, the emotions are too much for him -- he turns,
runs across the square, not looking back, racing towards
the coach. Les starts after him -- David catches him,
holds him, as he and Sarah watch --
-- Jack climbing into the coach, greeted by Teddy. The

door closes, the coach trots away. "SANTA FE" is
underscored.
As the coach moves off, the Newsies move up, waving their
caps goodbye. David and Sarah watch, feeling a great
loss; Les is crushed. The Newsies move into the court-
yard, trying to keep their spirits up as:
MUSIC BEGINS: REPRISE: "CARRYIN' THE BANNER" APPROX:
3:00
The Newsies sing as they MUSH
line up, trying to keep TRY BOTTLE ALLEY OR THE
their spirits up. HARBOR
KID BLINK
TRY CENTRAL PARK IT'S
GUARANTEED
BOOTS
TRY ANY BANKER, BUM, OR
BARBER
CRUTCHY
THEY ALMOST ALL KNOWS HOW
TO READ.
193A OMITTED 193A

)P( 5/1/91 BLUE (2) 117A.
193B EXT. LOADING DOCK/WINDOW - NEWSIES 193B

sing as they wait for papers,
but something's missing... NEWSIES
a voice, a presence, a IT'S A FINE LIFE,
spirit -- and then -- CARRYIN' THE BANNER... (ETC.)
-- Jack leaps onto the dock and rings the bell --
(CONTINUED)
PINK 4/1/91 118.

JACK
Call it, Les!
LES
Comin' down the chute!
The papers slide down the chute; Jack moves to the front
of the line grinning -- seeing Sarah smiling at him from
the gates.
Jack sings out, the song soars, continuing as the Newsies
are back on the job -- getting their papers, fanning out
across the courtyard, into the city beyond. It is indeed
a fine life as closing credits roll until we --
FADE OUT.
THE END

NEWSIES

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1st Blue 3/11/91

Original Song Score by

WALT DISNEY PICTURES

1 INT. THE NEW YORK WORLD - PRESS ROOM - MORNING 1

Two men push hard a cart loaded with papers to get it

2 INT. THE WORLD - CIRCULATION ROOM - MORNING (SAME TIME) 2

3 INT. NEWSIE LODGING HOUSE - SAME TIME 3

4 INT. NEWSIE LODGING HOUSE - DORMITORY - SAME TIME 4

5 INT. WASHROOM - MINUTES LATER 5

6 INT. LODGING HOUSE - FRONT DESK - LATER 6

7 EXT. NEWSIE LODGING HOUSE - SAME TIME 7

9 EXT. DAVID'S APARTMENT - MORNING 9 *

10 EXT. NEIGHBORHOOD STREET - MORNING 10

11 EXT. ANOTHER STREET - POLICY SHOP - SAME TIME 11 *

A boy's hand shoots some dice -- it belongs to RACETRACK *

12 EXT. ANOTHER STREET - SAME TIME 12

12A EXT. NEIGHBORHOOD STREET - SAME TIME 12A

12A CONTINUED: 12A

13 EXT. BARREL ALLEY - SAME TIME 13

Jack and the others ALL BOYS

14 EXT. OFF NEWSIE SQUARE - SAME TIME 14

ONE NUN ladles coffee from NUNS

is singing as she looks for her lost son in the crowd

15 EXT. NEWSIE SQUARE - SAME TIME 15

16 EXT. NEWSPAPER ROW - SAME TIME 16

17 EXT. ALLEY/OFF NEWSIE SQUARE - SAME TIME 17 *

A GROUP of NEWSIES follow through an alley that leads *

18 EXT. NEWSIE SQUARE - SAME TIME 18 *

A GROUP OF NEWSIES cross the street and split up around *

NEWSIE GROUP #1 NEWSIE GROUP #2

19 EXT. NEWSIE SQUARE AND WORLD BUILDING - SAME TIME 19

JACK'S GROUP NEWSIE GROUP #1

ANGLE - NEAR GATES

For revenge, Oscar jerks Snipeshooter out of line and

19A EXT. NEWSIE SQUARE - DAY (SAME TIME) 19A

DANCE BREAK... The Delanceys chase Jack throughout the

JACK'S GROUP NEWSIE GROUP

19A CONTINUED: 19A

A MIGHTY FINE LIFE I GET BETTER STORIES FROM

CARRYIN' THE BANNER I WAS GONNA START WITH TWENTY

WILL YOU TELL ME HOW'M I

SOMEONE BECKONED AND I...

are just arriving, hurrying towards the gates on a

19A CONTINUED: (2) 19A

ANGLE - NEAR GATES - JACK

keeps running, keeping just out of the Delanceys' grasp

19B EXT. WORLD BUILDING GATE - DAY 19B

IT'S A FINE LIFE GO GET HIM, COWBOY! *

The Delancey brothers, reluctantly, give up the chase,

Newsies yell out Jack's name as he rides the gates 'til

20 EXT. CIRCULATION OFFICE - LOADING DOCK - SAME TIME 20

David, puzzled, grabs the papers and he and Les run

21 EXT. NEWSIE SQUARE - JUST OUTSIDE GATES 21

Jack turns, grins at Les.

David is incredulous, but Les is pleading. David sighs.

22 INT. WORLD BUILDING - PULITZER'S OFFICE - DAY 22

A very large magnifying glass in in the hands of someone

It's the Newsies far below, barely audible to the others.

23 EXT. LOWER EAST SIDE STREET - DAY 23