NEWSIES

(formerly HARD PROMISES)

A Musical Feature Film by Bob Tzudiker and Noni White

Musical Rewrite by David Fallon, January 1991 E-text rewrite and publication editing by Jack Gambol

INT. NEWSIES LODGING HOUSE - MORNING, UNDERSCORE Black screen. We hear snoring, coughing, whistling. Fade into: Many BOYS sleeping in canvas hammocks, stretched between wooden beams. They are the NEWSIES, rocking in their hammocks, dreaming of being in better places. From the innocent looks on their faces, you'd hardly know they are the orphans of the city. This is the lodging house for newsboys.

 

CARD COVER: 1899, SUMMER, NEW YORK CITY THROUGH JACOB DENTON'S CAMERA. Denton, 35, is a photo-journalist for the NEW YORK SUN. He's a sharp dresser with an equally sharp sense of opportunity. He takes it upon himself to write stories and photograph the world of the underprivileged, and is doing a story on the newsies. Suddenly, there's a FLASH from Denton's camera that lightens the frame, and the newsies all awaken. The picture FREEZES and goes to SEPIA.

 

TITLE: "Newsies" The picture evolves into color. We see our main character, JACK KELLEY, 17, tough-handsome, complicated man-boy, at a soft moment. He throws his newsboy cap at Denton. There's a brief dialogue exchange between Jack and Denton. Denton picks up his gear. Some newsies chase him out. A young smudge-faced NEWSIE runs up and peeks into the-window of the lodging house. He's come to make sure the newsies wake up for work in time.

 

SMUDGE Comin' down the chutes!

 

DOWN BEAT. Begin OPENING PRODUCTION NUMBER: 'CARRYING THE BANNER". (This opening sequence will be break-into-song musical, choreographed, semi-realistic. The intent of the sequence is to establish the world of the newsies through our main character Jack, and introduce us to the newsies themselves. The sequence will take place in a series of scenes, bursting from real action to choreographed movement. We will meet most of the members of the newsies in this scene. The main newsies are: RACETRACK, 18, tall, skinny, gambling Italian beanpole. BOOTS, 15, black. CRUTCHY, 14, Irish, red-headed missing teeth. MUSH, 11, cross-eyed, small, skinny, and with a dirty face. KID BLINK, CHARLIE, etc.)

 

CUT TO INT. NEWSPAPER PRINTING ROOM - DAY A huge printing press of the NEW YORK WORLD pounds out the morning edition. The presses set a RHYTHM that carries the pace of the lively production number that will bring Jack and DAVID, our two main characters, into a collision course outside the WORLD BUILDING. The rhythm of the presses will build with increasing tempo, volume, and tension through the entire sequence, building and building as the newsies get closer to the WORLD BUILDING.

 

HARD CUT TO INT. NEWSIE LODGING HOUSE - DAY CLOSE UP ANGLES of newsies getting dressed; Boots being laced up, mittens being put on, shirts and vests being pulled over newsie heads, a newsie shaving. All action is choregraphed to the established beat of the printing press.

 

CUT TO INT. APARTMENT - DAY Contrasting with the tougher world of the newsies, we see a loving mother dressing her two sons for the morning. The older son is the aforementioned DAVID, David JACOBS, 15, with dark intense eyes. He's a keen observer, a bit wary of the world. His kid brother, LES, 10, has an innocent enthusiasm. David and Les put their caps on and say goodbye to their mother ESTHER, 38, a fading Polish beauty, who kisses her sons goodbye and sees them out the door.

 

CUT TO CLOSE-UP ON NEWSPAPER The masthead reads: "THE NEW YORK WORLD, June 10, 1899." An ink-stained hand grabs the errant newspaper and tosses it into a cart stacked with papers.

 

INT. NEWSPAPER PRINTING ROOM DAY Two men have to push hard to start it rolling towards an iron ramp. Once on the ramp, they have to run to keep up with the cart. Before they are out of sight, another cart is careening down the ramp leading to the circulation room.

 

INT. CIRCULATION ROOM - DAY The room is divided by a low counter with wire mesh reaching to the ceiling. An opening in the mesh makes it look like a crude bank teller's window. Several tough-looking young MEN grab the carts from the pressmen, swinging them to an outside door. the beat of the presses still drives the action. WEASEL, 40, supervises. He is tall, with the face of a battle scarred bird of prey. The toughs double their efforts when his eye falls on them. He grabs the arm of one tough, OTTO, 22, who winces as if expecting a blow.

 

WEASEL Next one for the newsies. Move it!

 

He flings Otto toward the next cart rumbling down the chute. Otto diverts the cart to the counter. Several co-workers quickly stack the papers by the wire mesh. Weasel looks out a grimy window at the faces of three small children peering in.

 

WEASEL Get outta here! The children flee.

 

CUT TO EXT. COURTYARD - DAY We follow the kids running from Weasel's window. They dodge horse-drawn newspaper wagons, through the courtyard gates and out onto the busy sidewalk. Over the increasing rhythm of the presses, the newsies move through the colorful streets of New York, heading for work.

 

In a series of vignettes, Jack and the newsies:

 

1) pass by VENDORS hawking their wares.

 

2) a HURDY-GURDY MikN, grinding a tune.

 

3) the PRETZEL MAN, from whom Jack graciously accepts a pretzel. He bows in thanks and darts away, leading us through the streets and alley ways of lower Manhattan. SOME NEWSIES hop off a passing horse-drawn wagon, and join up with Jack and the rest. The rhythm from the presses continues to build. BOYS get food from NUNS at a charity wagon. BOOTS and MUD, 6, his selling partner, get a drink from a NUN.

 

NUN Jesus loves you.

 

MUD A ... w-who's Jesus, Boots?

 

BOOTS You'll find out.

 

CUT TO EXT. ALLEY - DAY David and Les hurry down the sidewalk, headed for work. Les dawdles, gawking atthe wonders of the city.

 

DAVID Les, you've got to keep up or I won't take you with me again.

 

LES I will! I prom –

 

CUT TO EXT. NEWSIES SQUARE - DAY The newsies arrive en masse at Newsies square, home of NEWSPAPER ROW and the WORLD headquarters. The newsies wait for the WORLD gates to open so that they can get their papers to sell. Across the street is a statue of HORACE GREELEY sitting in a chair. Above Newspaper Row are two huge BLACKBOARDS. We see TWO MEN writing the day's headlines in chalk. PEOPLE stand below reading the boards and waiting for the papers. The DELANCY BROTHERS arrive in the square and spot Jack. By the looks in their faces, we see instantly that Jack and the Delancys are arch-rivals. We'll learn later that the Delancys are goons hired by the WORLD to keep the newsies in line. The Delancys make life for the newsies miserable. JACK sees the Delancy brothers pull a little Italian boy from the front of the line and put one of his boys in his place. OSCAR and MORRIS DELANCY, 22, thick-necked and heavy-set, cuff the boy and push him toward the back. Jack sees this and he and his gang move toward them. Jack takes the Italian boy's hand and walks him back to the front. JACK, boldly ignoring the DELANCYS, pulls the one boy out of line and puts the Italian boy in his place. The brothers watch turning red - slow boil. Jack turns, faces them.

 

JACK Any problem with that, Oscar?

 

The newsies see the confrontation brewing, excitement in the air.

 

RACETRACK Five to one on the Cowboy.

 

CRUTCHY Nah, bum odds.

 

THE DELANCYS CHASE JACK throughout the square to the thrill of the newsies - a morning tradition. While the chase is happening, David and Les arrive on the scene. Out of nowhere, Jack tears out from behind the Horace Greeley statue, nearly crashing into David and Les.

 

DAVID Hey, watch it!

 

JACK turns and smiles at David, catching Les' eye. The pursuing Delancys can't stop in time, crash into David and Les, sending them sprawling. The crowd stops breathing as, before the WORLD gates, the Delancys grab Jack and lift him high into the air, about to smash him into the cobblestones.

 

JACK IN FRONT OF THE GATES grabs their bars and, like a monkey, jerks free of the Delancys' grasp. Th e kids howl, loving the show as Jack avoids the brothers, moving from bar to bar. DAVID AND LES watch amazed, fascinated with JACK'S antics.

 

AT THE GATE Jack taunts the brothers, savoring the moment, high above the crowd: the mster spirit of the newsboys. The opening production number ends, and the moment is broken when a bell inside the World Building rings out. The huge gates begin to slide open and Jack hangs on.

NEWSIES Ride 'em, Cowboy!

 

Others yell out his name as he rides them until the last possible moment, then leaps into the back of a wagon.

 

DAVID AND LES enter the courtyard. Les keeps his eyes on Jack, his new hero. David is wary of this wild street bandit.

 

AT THE LOADING DOCK for the distribution center. The BOYS move through the gates and up the steps to the loading dock where the papers are loaded into wagons. ON THE ROOF OF THE WAGON, his moment over, JACK watches the boys line up for papes. IN THE COURTYARD BELOW, LES keeps his eyes on Jack, his new hero, as David pulls him towards the gate and into line. EXT. LOADING DOCK - WORLD BUILDING SAME TIME The humiliated DELANCEY BROTHERS push through the line and enter the CIRCULATION OFFICE... late for work again. From behind the window where the papers are dispensed, WEASEL, disgusted, watches the brothers get to work. INSIDE HIS WIRE CAGE, his cudgel close at hand, Weasel sits as the NEWSIES jockey for positions in line. David and Les take their place. Older boys cut in the front, with no protest, including Racetrack, Mush, and Crutchy. Flushed from his escape, JACK saunters up to the head of the line. BOOTS and MUD to his right and left. Jack leans on the counter, faces Weasel and flashes a grin.

 

JACK Top a the mornin' to ya, Pussycat! You miss me?

 

Weasel burns. The NEWSIES laugh. Inside the BROTHERS bristle at Jack's boldness. JACK turns to the smiling BOYS, wags his eyebrows for a laugh and sees LES staring at him. Jack winks at Les and Les smiles, fascinated. DAVID still mistrustful of this wild street kid. JACK turns, picks up a paper and scans the headlines. Weasel is impatient.

 

WEASEL How many?

 

JACK Don't rush me. I'm perusin' the merchandise.

 

The BOYS snicker. Taking his good old time, Jack lowers and folds the paper and finally holds up a fifty-cent piece. Weasel reaches for it. Jack pulls it away, then slaps it on the table.

 

JACK Heads I win, tails you lose.

 

Weasel considers the wager, then angrily rips Jack's hand off the coin and barks at OTTO.

 

WEASEL Hundred papes for the wise guy.

 

OTTO slams the papers on the counter. JACK picks up his papes and steps aside.

 

ALONG THE LOADING DOCK JACK, BOOTS, CRUTCHY and RACETRACK all scan the papers looking for the catchy headline as DAVID and LES, in the background, move to the window, watching JACK and the others.

 

BOOTS Chief Devery on the take?

 

JACK (shakes his head) Greasin' cops ain't news. (finds one, joking) Here it is. "Mother Gives Birth to Cow."

 

The BOYS laugh. Crutchy takes it seriously.

 

CRUTCHY She did?

 

JACK No, Crutch ... I made it up.

 

THEY laugh at CRUTCHY'S gullibility. JACK knuckles his head. A COMMOTION at the WINDOW draws their attention. AT THE CIRCULATION WINDOW DAVID holds his ground as WEASEL leans challengingly into his face. A hush settles over the CROWD as LES looks around nervously at the staring newsies.

 

WEASEL Move away, Sheeny!

 

DAVID (swallows) I paid for twenty. You gave me nineteen.

 

WEASEL You callin' me a liar?

 

DAVID sweats. OTTO chuckles in anticipation. JACK steps up beside DAVID and slams his hand down on the little stack of papers. DAVID jumps. Jack closes his eyes, and thumbs the stack.

 

JACK Nineteen, Weasel. One a yer bums can't add.

 

Weasel glares, deciding whether a confrontation with Jack is worthwhile. He decides against it, swings a sudden backhand at the head of MORRIS, knocking him to the floor, then throws another paper onto DAVID'S stack.

 

WEASEL Next!

 

As David grabs his papers JACK sees a COIN on the counter, by Weasel's elbow. Jack snatches it up and slaps it back down onto the counter.

 

JACK Another fifty for my friend here.

 

DAVID I don't want another fifty.

 

JACK Sure ya do. Every newsie wants extra papes. (to Les) Right, kid?

 

LES nods, confused. WEASEL slaps down another fifty papers.

 

DAVID I can't take something for nothing.

 

JACK You won't last long out here.

 

JACK jumps down from the loading dock and heads for the gate. LES, DAVID (grabbing his papes) and the GANG follow.

 

EXT. NEWSIE SQUARE - JUST OUTSIDE THE GATE DAVID and LES hurry to catch up to JACK.

 

DAVID I don't even know you.

 

JACK stops on a dime and turns, a charmer.

 

JACK Jack Kelley ... and you?

 

The GANG stops behind DAVID and LES as DAVID holds out his hand, they shake.

 

DAVID David Jacobs. (looks down) And this is my brother, Les.

 

They look each other over.

 

JACK Nice eye, Dave. (David touches his eye) Why only twenty papes?

 

DAVID Bad headline.

 

JACK Headlines don't sell papes. Newsies sell papes. (sees something) Watch it, kid!

 

JACK grabs LES by the collar and yanks him out of the way of two horses that pull a wagon away from the loading dock.

 

JACK Don't want to lose you. (Les shrugs) How old are you, Les?

 

LES (stretching himself) Near ten.

 

JACK Anyone asks, you're seven. (LES is crushed) No, young is good in this racket. You got the right mug for the job. (to David) Tell you what, Davey. I got a deal for ya. Seein' as ya ain't doint so good ... I'll forget the two bits you owe me and we can sell together. 70/30 split.

 

DAVID Why do I need you?

 

CRUTCHY Why do you need air to breathe?

 

BOOTS Exactly.

 

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

 

DAVID (hesitates, bravely) If YOU know so much why don't you sell them yourself?

 

JACK smiles at DAVID, respecting his courage.

 

JACK 'Cause I ain't got a cute little brother to front for me. (looks down at Les) With this kid's face and my God-given talent, I can sell a thousand papes. Whaddya say, Les? Want to work with me?

 

LES I'm game... Cowboy.

 

JACK smiles and looks at DAVID. DAVID is still dubious.

 

JACK Ya can't lose, Davey.

 

DAVID Fifty-fifty.

 

JACK Sixty-forty. Take it or leave it.

 

Jack offers his hand. David pauses, then shakes. Partners.

 

JACK Gentlemen, the suckers is waitin'.

 

JACK, DAVID AND LES walk off.

 

INT. PULLTZER'S OFFICE / THE WORLD BUILDING SAME TIME The penthouse. Irreplaceable works of art, a massive desk and a golden dome that reflects golden light onto: JOSEPH PULITZER, 52, newspaper magnate and owner of NEW YORK WORLD, as he stands in all his luxury at a window looking down at the street. By his side is his secretary JONATHAN, 35, an uptight English starchy. PULITZER, nearly blind, holds heavy-lensed glasses on a holder up to his eyes and squints. HE SEES JACK, DAVID, LES and other NEWSTES begin their day.

 

PULITZER How do they get so dirty?

 

JONATHAN They don't bathe, Mr. Pulitzer.

 

PULITZER Only the poor abandon their children. (Jonathan nods) Is there another place for them to congregate? I hate seeing them.

 

JONATHAN makes a note.

 

EXT. LOWER EAST SIDE STREET NEIGHBORHOOD DAY An open-air market, filled with VENDOR'S carts selling everything from candy to suspenders. Shouting and singing in pidgen English and countless other tongues. JACK walks as if he owns the block. His movements are fluid, dance-like, as he weaves a spell over DAVID and LES.

 

JACK The thing is, some newsies got corners and reg'lar customers and they know exactly what they'll sell every day. Me, I like to work the angles, keep movin', enjoy life. I spot an opportunity, I sell a pape. That's the advantage of bein' an independent businessman. (POINTS) Look. A good tip, guaranteed.

 

TWO LOVERS spoon on steps of a building.

 

DAVID They don't want a paper.

 

Jack smiles and whispers in Les's ear. Les runs to THE LOVERS, moves close, and shouts earsplittingly.

 

LES Brooklyn Trolley crushes baby!

 

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

 

LES A dime!

 

Jack takes the dime. Les' face falls. Jack sees this, gives it back to him. David looks at Jack with wary respect.

 

JACK Keep it, kid. You earned it. C'mon, I'll show ya some more.

 

LATER - SAME STREET The BOYS are catching JACK'S rhythm and movements as they weave through the crowd CHANTING/SINGING the headlines.

 

DAVID & LES Crooked cops! Bulls on the take!

 

JACK Spring a penny, buy a pape!

 

and SO ON. Suddenly JACK jumps atop a crate, yells.

 

JACK Nextra! Extra! Ellis Island explodes!

 

DAVID looks skeptically at him. Jack just smiles as eager buyers rush to him. The rumor spreads in several languages.

 

JACK (low, to David) Page nine. Trash fire next to the immigration building. (CALLS) Extra! Ellis Island explodes!

 

David is offended. He steps away from Jack.

 

SAME STREET - LATER

 

A. OUTDOOR BOXING RING ... see LES floating above the crowd, singing out the headlines, as he sits on JACK'S shoulder, working the crowd. DAVID follows JACK carrying papes.

 

B. CLOSE UPS: papers handed to CUSTOMERS ... money handed back to LES (repeat twice). C. WOMEN with funny hats fawn over LES. ONE WOMEN gives LES a kiss. LES turns to JACK and DAVID and winks.

 

EXT. SALOON (SAME STREET) - LATER SAME DAY JACK and David wait outside. Jack reads a battered dime western novel. David waits nervously. Les comes running out of the saloon with no papers. JACK takes money from him, hands him a paper.

 

JACK Startin' in back, like I tol' ya? (LES NODS) Show me again.

 

Les assumes a bedraggled look, holds out the single newspaper, coughs and says pathetically:

 

LES Buy me last pape, mista?

 

JACK Heartbreakin'! Get 'em, kid.

 

Les runs back inside. David looks at Jack disapprovingly.

DAVID We were taught not to lie.

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

Les emerges from the saloon.

LES A quarter! He gave me a quarter!

DAVID leans and sniffs at Les.

DAVID Somebody spill beer on you?

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

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

JACK (stern) Hey! Look. Number one rule. No drinkin' on the job. Ya hear?

LES nods, dead serious. DAVID rolls his eyes. JACK gives LES another paper. LES runs back inside.

HALF A BLOCK AWAY, a black-suited man, NIGEL SNYDER, 49, and a burly 55 year-old Irish cop, CAPTAIN MCSWAIN, leave a building. SNYDER has the intensitiy of a religious fanatic. MCSWAIN sees JACK and DAVID outside the SALOON.

MCSWAIN There's your pal.

SNYDER looks and sees JACK: instant hate, his ears go crimson. He goes after JACK; MCSWAIN, reluctant, follows.

ANGLE - SALOON As LES exits, DAVID glances up the sidewalk and notices SNYDER and MCSWAIN hurrying toward them.

DAVID We doing something wrong?

JACK turns sees SNYDER and MCSWAIN only fifty feet away. His smile disappears. JACK stands and starts running. LES runs after him. DAVID grabs papers and follows them. JACK hears them behind him and yells over his shoulder:

JACK Beat it! They don't want you!

THEY follow him anyway. JACK darts into an alley.

EXT. BLIND MAN'S ALLEY OFF SAME STREET SAME TIME DENTON photographs SIX BLIND MEN and ONE BLIND WOMAN, all with dark glasses and white canes. As JACK, DAVID and LES sprint toward them, JACK yells out.to one of the MEN:

JACK Hey, hey Danny!

DANNY senses the urgency in JACK's voice as he passes and when they hear the heavy footsteps of the law behind them, they stand and block their way. SNYDER and MCSWAIN have to slow down cautiously moving between them.

OTHER SIDE OF BLIND MAN'S ALLEY JACK, DAVID and LES race across the CROWDED street, through WAGON traffic and into the nearest tenement building.

INT. TENEMENT STAIRWAY SAME TIME Dank and dark. The BOYS race up the creaky stairs. JACK, at home, hops over a MAN slumped on the landing, warning THEM:

JACK Sleeper!

They nimbly jump the SLEEPER, run down a hall past other ghostly FIGURES, then fly down more steps and out another door. McSwain and Snyder in hot pursuit.

EXT. ALLEY OFF SAME STREET SAME TIME JACK and the BOYS sprint across another busy street and into the alley. David can't believe what he's gotten into. THE BOYS SEE the ALLEY getting narrower at the end ... like a funnel. JACK and the BOYS squeeze through, but SNYDER and MCSWAIN have a tougher time of it.

EXT. ANOTHER ALLEY OFF SAME STREET SAME TIME With not a second to spare JACK and the BOYS run down the alley. JACK stops, opens a small street level coal door, dives in ... and magically disappears. LES follows without hesitation. DAVID, leery, goes in feet first.

INT. SUB-BASEMENT/BOILER ROOM SAME TIME A furnace, chair, table and a sink. See DAVID zip down several CHUTES and land in a pile of COAL next to JACK and LES, both laughing their heads off. DAVID is fuming. JACK quiets them; FOOTSTEPS run past them above.

DAVID What was that all about?

JACK That was the Warden.

DAVID You were in jail?

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

LES Where's your brother?

Jack pulls the dime novel from his back pocket. Shows LES. JACK

JACK Out west. With the Cowboys. My dad and him went to get settled. I'm just waitin' for the word and I'm on the ol' Santa Fe Trail myself, headin' west.

LES You're gonna be a cowboy?

JACK Like Wild Bill Hickock. Except I'll learn to ranch. (clears a chair off) Make yaselves to home.

DAVID (shocked) You live here?

JACK If I have to. It ain't bad.

There's no surprises. DAVID studies JACK, now even more of an enigma. JACK empties the change from his pockets onto the table; all they made that day. DAVID counts. LES picks up dice.

JACK Ever shoot craps, Les?

DAVID glares at Jack with righteous indignation. JACK smiles.

JACK Kiddin' Dave. Kiddin'. How much we got?

DAVID (pleased) Two dollars and seventy five cents.

JACK Not bad. Let's see the show.

DAVID Show?

JACK At the Irving. It's new tonight.

DAVID starts to complain as JACK starts out, remembers the papers and grabs them on his way up stairs.

JACK Gotta sell these. Don't want'a eat the leftovers. Right, Les?

LES Whatever you say.

Jack smiles and David rolls his eyes as they exit.

EXT. VAUDEVILLE THEATRE (IRVING HALL) LATER SAME DAY MARQUEE READS: "BUFFALO BILL'S WILD WEST SHOW". DAVID and LES stand on the sidewalk at the mouth of the alley watching JACK at the BACKSTAGE DOOR talking to the STAGE MANAGER, FAT MAX COHEN, 65. FAT MAX enjoys talking to the boy. MAX looks up the alley at them.

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

JACK Won't happen Max. Give me a break, I'm a reg'lar customer.

MAX hesitates, looks around, then nods. JACK turns and waves DAVID and LES on. They hurry to him and enter.

INT. THEATRE (IRVING HALL) STAGE PROPER LATER TWO MEN juggle as a plump scantily clad WOMEN jestures and points at them. A bored BAND looks on from the pit. IN THE RIGGING ABOVE STAGE, DAVID and LES are in heaven, sitting with JACK on the catwalk 50 feet above the stage, straddling the ropes as they watch the show below. LES is packing away the candy. JACK glances at his new friends, pleased, then, seeing something, looks down into the wings.

HE SEES: Sitting on a HORSE and sharing a BOTTLE with TWO INDIANS in full regalia is a sad old drunken COWBOY. .. BUFFALO BILL. JACK, shocked, mouths his name, "Bill ...?" as he stares.

EXT. VAUDEVILLE THEATER - LATER SAME EVENING JACK and DAVID laugh as LES prances about, imitating the jugglers' assistant. DAVID see the clock on the bank tower and notices how late it is. DAVID We better get home. DAVID looks at JACK; hard parting.

JACK I'll walk with ya.

They start off together.

EXT. NEIGHBORHOOD STREET - LATER SAME EVENING LES follows JACK in a balancing act on the trolley tracks. Suddenly running out of gas and sick from all the candy LES falls. DAVID picks him up before he cries.

LES I don't feel good.

JACK hears something and looks away. The sound of SHOUTING comes from around the corner. The BOYS run to see.

AROUND THE CORNER DOWN THE STREET SAME TIME A TROLLEY CAR in flames. Surrounded by a MOB of shouting MEN. In the flickering light, see signs reading "Trolley Workers on Strike." TWO FIGURES break away from the CROWD, running toward the BOYS with a DOZEN MEN in pursuit.

STRIKERS Scabs! Soak the scabs!

The first MAN races past the BOYS. He wears a Conductor's uniform, his head bloody. The MOB catches the other MAN and beats him. WHISTLES signal the arrival of POLICE, on foot and horseback. A small riot breaks out. JACK is transfixed by the nightmare of violence. DAVID, carrying LES, turns and walks off. JACK catches up to them.

EXT. BAKER STREET IATER SAME NIGHT Jewtown. A different world. JACK now carries LES. DAVID beside him is still shaken. It begins to rain.

JACK They crack a few heads. What's the big deal?

DAVID People lose jobs, everyone suffers.

JACK Not the rich. (LES moans)

DAVID Next building. Want me to take'm?

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

DAVID Fifth.

Jack immediately passes Les back to David.

INT. DAVID'S APARTMENT- IATER NIGHT Crowded, clean and well ordered. A warm one room apartment which serves as both working (lace factory) and living area .. two windows to a fire escape look into the alley. David's mother, ESTHER JACOBS, 38, a fading Polish beauty, looks up from her piecework as the door opens and JACK carries LES inside. Her hand comes to her mouth in fright; accent colors her speech.

ESTHER My God...

DAVID behind JACK sees his mother's fear.

DAVID It's okay, Momma, he's just sick to his stomach.

ESTHER rushes to her baby as DAVID's sister, SARAH, 18, turns from her piecework and faces us. She's pale and pretty with dark almond shaped eyes and olive skin. DAVID's father, MAYER, 43, relieved but angry, awkardly folds his newspaper with one bandaged arm in a sling. He sees LES is alright and gives JACK the once over. During the excitement JACK just looks around at the apartment. A home. To him the Taj Mahal. Food on the stove, sheets on the bed. Home. It hits him hard. DAVID sees his father looking at JACK.

DAVID This is my friend Jack. (to Jack) My parents... and that's Sarah. My sister.

MAYER shakes hands with JACK as ESTHER lays LES on her bed. SARAH stands and looks at JACK; at once defensive and curious. JACK looks her straight in the eye, in awe of her beauty ... and speechless. DAVID to MAYER:

DAVID Jack and Les and I are partners.

DAVID pulls out his change and puts in on the table. MAYER acts like he robbed a bank, then counts it, amazed.

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

JACK More.

DAVID Today we were just learning.

Mayer looks at ESTHER, proud. Then smiles at JACK.

MAYER We've only got soup, Jack, but you're welcome to join us.

JACK I don't know... I'm sorta expected...

JACK looks at SARAH quickly then back to MAYER.

JACK Maybe just a bowl.

ESTHER adds water to the pot.

INT. DAVID'S APARTMENT LATER SAME EVENING Raining. LES sleeps on a board suspended between two chairs as MAYER reads a quote from a book to ESTHER, DAVID, JACK and SARAH at the table. JACK wipes his mouth with his sleeve and knocks over his coffee. As he and SARAH clean up THEIR HANDS BRUSH AGAINST ONE ANOTHER .. they look into each other's eyes. DAVID, a protective cast in his eyes, watches them.

MAYER "While there is a lower class, I am in it; while there is a soul in prison, I am not free." (closes book) Eugene Debs.

The FAMILY has heard it before. JACK, not fully understanding, is attracted to MAYER'S energy.

MAYER The problem is, Jack, that the working class and the hiring class got nothing in common.

JACK I agree with ya there, sir. (All wait for more) What do you do for a living, sir?

A sore point with the family. Mayer put on the spot -

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

JACK What happened to the arm? (Mayer hesitates)

DAVID He was striking. They busted it for him.

MAYER I try to do what's right. But sometimes that makes it hard to make a living.

A silence. SARAH glares at JACK in defense of her father.

SARAH My father and I are Socialists.

ESTHER and DAVID roll their eyes. JACK impressed.

EXT. FIRESCAPE OUTSIDE DAVID'S APT. LATER Still raining. JACK and DAVID look out over the City. ESTHER, inside, sings a LULLABY to LES. SARAH reads to MAYER from the "Debs" BOOK. JACK looks longingly back inside at the warmth... and Sarah.

JACK What's a socialist?

DAVID They believe in the workers' rights over the bosses.

JACK I'm with that.

DAVID Yeah, it sounds good, but it doesn't put food on the table. (Jack looks at him) And it causes my mother a lot of grief.

JACK sees DAVID'S worry mask. A look passes between them. Inside: MAYER looks past SARAH.

MAYER David. It's late.

David hesitates, then starts back inside the open window.

DAVID See you tomorrow.

JACK nods. DAVID slips inside and closes the window. JACK starts down, stops and looks back, remembering what he's missed. He listens to ESTHER sing a LULLABY, then, in counter point, JACK, watching Sarah, begins to SING too.

(BEGIN JACK'S BALLAD) .... JACK continues down the fire escape.

EXT. ALLEY DAVID'S BUILDING SAME TIME RAIN. JACK, still singing, drops off the fire escape into the alley below moves to the sidewalk and walks off.

EXT. NEIGHBORHOOD STREETS SAME NIGHT JACK, SINGING, walks the streets. PEOPLE leave their hot tenements to cool off in the summer rain. JACK sees TWO COPS coming and instinctively hides in the shadows until they pass: finishing a refrain in the dark.(END OF JACK'S BALLAD)

INT. PULITZER'S OFFICE SAME TIME NIGHT Pulitzer sits at his desk, eyes closed, his staff before him. JONATHAN, his secretary, reads a report in softly measured tones. Everyone speaks softly to PULITZER.

JONATHAN Circulation up twelve percent, advertising revenues down ten percent, projected losses...

He drones on. DON SEITZ, 45, more like a coach than a BUSINESS MANAGER, sips quietly at his coffee. Pulitzer's hearing is so oversensitive that slight noises can fray his delicate nerves.

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

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

PULITZER In deference to your imperious sensibilities, Mr. Seitz, if we held to that course Hearst and the others would stay at a penny and cut our throats.

PULITZER spins in his chair and looks out over the city, his hand resting on the head of a BRONZE STATUE OF NAPOLEON.

PULITZER What would the newsies do if we raised their price?

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

PULITZER What do they pay now?

SEITZ Fifty cents per hundred.

PULITZER Charge them sixty.

SEITZ Yes, sir.

PULITZER And coordinate it with Hearst, Mr. Seitz. Strict secrecy. He's still afraid of his boys.

EXT. NEWSIES LODGING HOUSE SAME NIGHT Rain. JACK walks into what looks like a cheap hotel. The sign outside reads: "Newsboys Lodging House."

INT. NEWSIES LODGING HOUSE NIGHT MR. KLOPPMAN, 50s, tall, pink-clean, warm, prim and proper, sits at an entry desk reading a paper. He hears JACK enter, lowers the paper, looks up and nods in greeting.

KLOPPMAN Rain's got them all here. I knew you'd come in, Kelley.

JACK Right as rain, sir.

JACK pays. Kloppman makes a mark in the ledger.

INT. DORMITORY NEWSIE LODGING HOUSE SAME TIME SEEN IN OPENING. Recognizable faces in the group. JACK enters and wakes MUD asleep in a top hammock.

JACK Get below, Mud. I can't sleep down there.

MUD jumps down and climbs in below, giving JACK the hammock near the window. He jumps up and lays down.

RACETRACK Delancies pounded Blink off Ludlow. Broke his nose.

JACK Save it til tomorrow.

BOOTS Where'd ya get to, Jack?

JACK I was dinin' with a family. (critique) Soup was hot. We used spoons.

CRUTCHY They got a mother?

JACK And a sister.

CRUTCHY Pretty?

JACK (pauses, remembering) Like an actress.

The BOYS groan softly in appreciation. Hear a HORSE AND WAGON passing outside. JACK rolls over and closes his eyes. EXT. NARROW STREETS / BRICK WALL DAY A DREAM IN STYLIZED SLOW MOTION. JACK and a BOY of 8, both laughing, run after a departing carriage ... JACK, faster, jumps on and holds out his hand to THE BOY... THE BOY reaches grabs JACK'S hand and is jerked up onto the carriage .. THE BOY loses his balance and falls back against the carriage wheel and gets hooked by the spokes ... He is quickly sucked around and crushed under the rolling wheel .. his body left behind on the cobble stone.

INT. DORMITORY NEWSIE LODGING HOUSE SAME TIME NIGHT JACK wakes in a sweat from his NIGHTMARE, and listens to the newsies' snore. He quietly slips out of his hammock. WASHROOM LODGING HOUSE - LATER JACK dislodges a brick under a sink, reaches deep into the hole to pull out a small box. He removes some photographs and papers, revealing a little stash of money, mostly silver. He quietly adds two quarters, pauses to look at:

INSERT - A PHOTO A FAMILY is posed before a painted western backdrop, two BOYS and their PARENTS. The older boy is JACK at fifteen, the younger BOY is his brother, eight ... the same BOY we saw in the DREAM. The mother seems young and frail, the father proud. Jack's brief reverie is interrupted by a sound. He moves like lightning, replacing box and brick and exiting.

EXT. NEWSIE SQUARE NEXT MORNING Open on the CHALK BOARDS above Newspaper Row, see the headlines being written in chalk. "July 18, 1899: POLICEMAN KILLED IN TROLLEY STRIKE". Hear the sound of the BELLS RINGING as we PAN DOWN and see the gates opening to The world loading dock. The NEWSIES move toward the window to buy their morning papes.

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

KID BLINK 10 cents a hunert now, Jack Ten cents! I don't mind fightin' for a co'ner, but dey keep jackin' the price up.

RACETRACK (shouts) Journal, too! Ten cents!!

BOOTS I could eat a day on that!

CRUTCHY Talk to 'em Jack! Tell 'em how we feel.

Word quickly spreads; the cries of outrage create a din. JACK looks at DAVID for direction then at the mob of angry BOYS. The COP moves the BOYS back into line. MORRIS jumps onto the loading dock as WEASEL exits with his cudgel.

WEASEL Shut up all of you!

ALL quiet immediately, turn and look up at WEASEL. Behind him OTTO, THE DELANCEYS and others. WEASEL looks down At JACK.

WEASEL Looking for trouble, Cowboy?

JACK Why the jack up?

WEASEL Why not? It's a nice day.

WEASEL laughs at his joke. No one else does.

WEASEL Any other stupid questions?

JACK stares up at him, stiff with rage. WEASEL knows he has him by the balls and turns to the BOYS.

WEASEL Now, anybody wants papes have your money ready and your mouth shut.

WEASEL turns and goes back inside, followed by his goons. A hush over the disappointed crowd. Out of sight WEASEL beats a bell with his cudgel.

WEASEL'S VOICE Line up! Line up!

The BOYS slowly get in line. DAVID sympathetically puts his hand on JACK'S shoulder. JACK looks down at Les, then shrugs off DAVID'S hand and leaps onto the loading dock.

CAGE WINDOW The BOYS in front of the line let JACK in ahead of them. The tension is papable. All eyes on JACK.

JACK I ain't buying your papes.

WEASEL Then move aside!

JACK turns and faces the BOYS. DAVID witnesses the birth of a leader as JACK struggles through with his impromptu speech.

WEASEL Next! (No one moves) Next!!!

JACK I don't know about the rest of you, but this is the only way I got to make a buck. And they're tryin' to take it away from me by raisin' the price.

JACK pauses, mesmerized for a second by the attention.

JACK It's time we stand up to 'em. Cause if we don't and we don't stick together now ... we ain't nothing ... to nobody and rats like Weasel'Il walk all over us.

The BOYS cheer. JACK, surprised, looks at DAVID. DAVID, just as surprised, shrugs. JACK looks back at the crowd.

JACK Anybody planning on buying at these prices?!

ALL NEWSIES NO!!!!

JACK again looks over at DAVID. DAVID shrinks back, not wanting any part of it. JACK, lost, looks back at the crowd.

JACK So ... what do you want to do?

Big silence. No one knows. Little LES steps forward, raises his fist in the air and bellows.

LES Strike!

Everyone looks at Les surprised. DAVID clamps his hand over Les's mouth. JACK again looks at DAVID for his take. DAVID'S blank expression leaves JACK on his own. He turns to the crowd pauses and takes up Les's cry.

JACK Strike! Strike!

The BOYS quickly pick up the chant. A riot brewing. WEASEL, enraged, exits with his GOONS and shouts:

WEASEL If you ain't buyin', get off the dock! (TO HIS GOONS) Clear 'em out!

The GOONS herd the BOYS out the gate. A few hang back to buy.

EXT. OUTSIDE WORLD GATE NEWSIE SQUARE SAME TIME PEOPLE on the sidewalks watch the excitement as JACK whips the BOYS into a frenzy, leading the "STRIKE!" chant. Carried along by the tumult, DAVID, bewildered, holds LES' hand.

DAVID We can't afford to strike!

JACK Nobody can. But we got to.

JACK stares hard, trying to force his will onto DAVID.

DAVID It's complicated, Jack. It's not a scam.

JACK Tell me what to do?

DAVID looks around at the madness ... then responds.

DAVID It won't work!

JACK No reason not to try!

JACK grins, grabs LES' hand and they run with the crowd as NEWSIES flow by, moving with the rhythm of the chant. Bewildered, DAVID shakes his head and follows reluctantly.

EXT. NEWSIE SQUARE NEAR STATUE SAME TIHE Curious PASSERSBYS watch the meeting, an unruly affair, dissolve into chaos as NEWSIES take the floor by shouting louder than the next. DAVID, JACK and LES watch, distressed. TWO NEWSIES square off. A fight breaks out. The combatants are pulled apart. DAVID, angry, yells to JACK over the racket.

DAVID How can we strike? We don't have a union?!

JACK A union. Good Idea.

DAVID No! We'd have to get every newsie in every borough to join ... we'd have to raise money...

JACK Another good idea. (grabs CRUTCHY) Take up a collection!

CRUTCHY hobbles off. DAVID now even more flustered.

DAVID You've seen what they do to unions, Jack.

JACK Got no choice now, Davey. We're union men.

JACK strides to the front of the MOB, climbs onto the base of the statue and gets their attention. The BOYS quiet as JACK pauses, considers his words carefully, then paraphrases Mayer.

JACK The problem is ... The World ain't got nothin' in common with us. (pauses, feels the power) Time is now to get serious. If we wanna get any place we gotta make a union. Trolley workers got theirs, dockworkers got theirs. And we're gonna have ours. A Newsboys Union!

The BOYS cheer. JACK quiets them again.

JACK We'll keep the same hours. 'Cept we don't come to buy papes, we come to keep 'am off the street.

The BOYS cheer again. JACK winks at DAVID. DAVID grins, stunned to see his ideas put into action.

EXT. SUN NEWSPAPER ROW MINUTES LATER DENTON with his camera (PREVIOUS SCENES) leaves the building and sees the gathering of NEWSIES. He crosses to them.

EXT. NEWSIE SQUARE - STATUE SAME TIME The NEWSIES are seated on the ground except for a few leaders, including JACK, RACETRACK, BOOTS. DAVID stands behind JACK.

JACK Okay, we got...

JACK turns to David, Questioningly. DAVID cues him.

DAVID Ambassadors.

JACK ... embastards to all the wards except Brooklyn. Who wants to go Brooklyn? (no one responds) Come on! What's the big deal?

DENTON moves in closer to the front, taking it all in.

RACETRACK That's Spot's territory.

MUSH There's gangs in Brooklyn.

JACK There's gangs everywhere.

BOOTS I'll go. But not by myself.

JACK We'll go with you. Me and Dave.

He pulls DAVID to the front and puts his arm around him. The NEWSIES cheer their courage. DAVID is trapped, but his enthusiasm warmed by the applause. BOOTS yells out:

BOOTS What's to stop someone else from sellin' our papes?

JACK We'll talk to 'em.

RACETRACK Some of 'em don't hear too good.

JACK Then, we'll soak 'em!

DAVID No!

RACETRACK Soak the scabs!

NEWSIES Soak the scabs! Soak the scabs!

DAVID No! We can't beat up kids in the street! It'll give us a bad name!

But the chant drowns him out. CRUTCHY sees DENTON taking notes and points him out to JACK.

CRUTCHY I seen that guy at the papes!

Ominous rumbles from the NEWSIES. DENTON stays cool.

DENTON Just a humble reporter for The Sun.

JACK We got no beef with The Sun.

The NEWSIES are satisfied, turn to other matters. DENTON approaches DAVID.

DENTON What's your name, kid?

DAVID David Jacobs.

DENTON I'm Denton. Sun. You the brains of this outfit? (David's distracted) Having a problem?

DAVID What?

DENTON Your first strike? (David nods, perplexed) Can you fill me in?

INT. CHEAP RESTAURANT OFF NEWSIE SQUARE LATER SAME DAY DENTON taking notes as JACK, DAVID and LES eat like they've never seen food before.

JACK (mouthful) ... what did I know? I just started talkin' and the next thing I knew it was goin'.

DENTON This is great stuff.

JACK This'll be in the Sun tomorrow?

DENTON Can't miss. You're riding a hot story here. "Little Davids take on twin Goliaths!" Could hit the national wire. (rises, pays bill) My boss'd love to see The World and The Journal off the streets. I'll keep in touch.

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

DAVID The whole country'll read about us.

JACK (astounded) My eyes!!

LES Is that good?

JACK and DAVID look at LES and smile.

EXT. BROOKLYN BRIDGE DAWN BROOKLYN SIDE. A MILK WAGON rattles its way off the bridge and passes us. See DAVID, JACK and BOOTS riding on back.

EXT. BROOKLYN STREET - LATER MORNING Jack, David and Boots walk down the street quickly and warily, as if in enemy territory. The neighborhood children stop their play to stare as they pass. A seven year-old, SPIKE, born to be tough, steps off a stoop and blocks their way. Spike looks them over silently.

SPIKE Haven't seen youse around.

JACK We're Lower East Side, lookin' far Spot Conlon.

SPIKE I heard of him. But this ain't your neighborhood.

JACK (testy) Guilty, yer honor. Now move aside...

Several grimy little BOYS saunter up behind Spike. Boots cuts in diplomatically.

BOOTS We'd like safe passage through your turf. (pulls MARBLES from pocket) I got two shooters here.

The little ruffians crane their necks to see Boots' offer.

SPIKE Okay. But the wise guy pays cash.

Boots nudges Jack. He reluctantly digs out a penny, tosses it to Spike, who catches it without looking at it. Very cool.

SPIKE We'll escort youse to our border.

They all march off. It's only a few buildings to the end of the block. Spike and his henchmen stop at the corner.

DAVID This is it? That's your turf?

SPIKE We're just startin' out.

EXT. NEWSIE SQUARE SAME TIME EARLY A.M. The NEWSIES prepare for the strike in an atmosphere of innocent fun and chaos. RACETRACK directs a group making picket signs, but they end up throwing paint at each other. RACE looks up and sees SNYDER and the cop MCSWAIN, moving through the CROWD, searching for someone.

INT. NEWSIE LODGING HOUSE LATER SAME MORNING MCSWAIM watches SNYDER get nowhere with KLOPPMAN.

KLOPPMAN This is an independent charity for newsies. I got hard-working kids here. No troublemakers. So unless you've got a warrant, I can't let you in.

SNYDER We want to help him.

KLOPPMAN Make a contribution.

EXT. BROOKLYN - LATER SAME MORNING DAVID, JACK and BOOTS continue their journey through tenements, hot and tired. They stop a NEWSIE for directions.

INT. PULITZER'S OFFICE SAME TIME DAY Weasel stands nervously under the great dome, conscious of his battered clothes in the presence of his MASTERS.

PULITZER A union?

WEASEL That's what my boys say, sir.

SEITZ I don't think it's serious. As soon asthey see others making money, they'll beg to sell at any price.

PULITZER No negotiations. We can't encourage this sort of thing.

EXT. WATERFRONT SAME TIME DAY DAVID, JACK and BOOTS face a dozen tough-looking NEWSIES by a shack in a vacant lot. One BOY plucks a banjo, eyeing the strangers. A freckled gnome saunters out: SPOT CONLON, 19.

SPOT Jack be nimble. Jack be quick.

JACK You filled out some, Spot.

SPOT I live right. What can I do you for?

JACK We need to talk.

INT. SPOT'S CLUBHOUSE DAY The BOYS meet in a circle on the dirt floor.

SPOT Sure, me boys is burnin' over the new price. But a strike... I got the welfare of a couple thousand newsies ta consider.

DAVID The cops are tied up with the trolley strike. If everybody joins, it'll be over fast.

SPOT You think so?

David nods. Spot looks at Jack.

SPOT Who is dis guy?

JACK My partner. He knows what he's talkin' about.

SPOT thinks on it; relights his cigar butt.

SPOT I know we got the stuff to shut 'em down in Brooklyn. But how do I know your boys is tough enough to go the distance?

OTTO'S VOICE They ain't.

The BOYS turn to see OTTO, standing in the doorway, as arrogant as ever.

OTTO Got a load of free papes out here for ya, Spot. Courtesy of Mr. Pulitzer.

SPOT Ain't that nice.

JACK gets up, pushes past OTTO and exits. David and Boots exchange a puzzled look. David to Spot; level-headed.

DAVID They think they can give away a few papes and make you forget you're a newsie. If we stick together...

A COMMOTION outside. Shrill voices. They all exit.

EXT. SPOT'S CLUBHOUSE SAME TIME They run outside to see JACK standing by a FIRE HYDRANT that he's rigged to spray a HUGE ARC OF WATER into the back of the wagon. All the papers are ruined. OTTO'S mouth drops open. The BOYS howl. JACK turns and faces

OTTO. JACK Strangest thing, Otto. It just went off.

OTTO You little...

Otto backhands Jack, sending him sprawling. Spot steps in front of Otto.

SPOT These boys is me guests.

David helps Jack to his feet. Jack seems icy calm. He brushes off his clothes, smiles at Otto.

JACK I'm OK.

Then, like lightnling, JACK lunges past Spot and attacks OTTO, hitting him with a flurry of punches. OTTO reels backward, taking down a wall of Spot's makeshift shack. It happens so fast, everyone is frozen. JACK See? No hard feelings. He starts to walk away, outwardly calm, but when OTTO rises slowly from the rubble, Jack whirls to attack again. David and several of Spot's boys leap to restrain him.

JACK Maybe you're right, Spot. Maybe we ain't tough enough to win a strike. (wipes his mouth) And maybe you ain't either.

Spot looks at Jack, taking his measure.

SPOT I'll think it over, Sullivan ...talk with me men.

JACK (to David) Let's go.

JACK, fists clenched, waiting for a rear attack, turns and starts walking away; BOOTS beside him. DAVID, petrified, backs away, watching OTTO, then spins and catches up to Jack.

DAVID He called you Sullivan.

JACK Kelley, Sullivan, what's the difference?

EXT. BRIDGE ENTRANCE (MANHATTAN SIDE) - NIGHT The BOYS ride in silence in the back of a hay wagon as it clops slowly off the Brooklyn Bridge. Certain their mission has failed. DAVID tries to be optimistic.

DAVID He said he'd think about it.

JACK Don't hold your breath.

JACK jumps out of the wagon. The others follow. They brush hay off themselves as walk off.

EXT. NEWSIE SQUARE - IATER MORNING Several young NEWSIES play marbles beside a "Don't Buy World or Journal" sign. We PULL BACK to see an unruly MOB of NEWSIES gathered by the statue. Playing games, throwing stones at passing carriages and generally having a good time. MUSH and BOOTS collect rotten fruits and vegetables from vendors. DENTON there, setting up a shot. RACETREACK is reading to KID BLINK from THE SUN as DAVID, JACK and BOOTS arrive at the scene. DAVID is distressed by the chaos

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

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

JACK Okay. Okay. Tell me what to say,

"THE STRIKE SONG" BEGINS HERE. Celebratory in tone, the scene begins with JACK and DAVID trying to organize the KIDS. They realize they need a "rallying cry", which becomes a slogan, turns into a cheer, than into a SONG that turns a mob of kids Into a unified force. The SONG segues to DANCE as DAVID and JACK lead the BOYS to the opening WORLD GATES as the wagon drivers whip their horses out of the courtyard. The NEWSIES surge forward to blockade then, sending a shower of old fruit and vegetables onto the wagons. The lead DRIVER covers his head, drops his reins. WEASEL shouts orders in vain. He pulls his cudgel. JACK leads a group of NEWSTES onto the first wagon. They clamber aboard beside the helpless DRIVER and toss bundles of papers to the NEWSIES below, who tear them to shreds. DAVID stands at the edge of the action, amazed at the frenzy of these CHILDREN, then joins them in tearing up the papers. Newsies cover the wagons like ants, the DRIVERS fleeing, the horses' eyes bulging with fear. A WHISTLE shrieks. THREE POLICEMEN ON HORSEBACK ride down the street, blowing their whistles. JACK leaps onto the gate, bellowing;

JACK Bulls!

The NEWSIES quickly pull back and disappear up side streets and down alleys before the COPS ON HORSEBACK can give chase. The courtyard is suddenly dead quiet, except for the rustling of newspaper scraps in the breeze.

END OF SONG. INT. DAVID'S APARTMENT - NIGHT The Sun is on the table; the headline reads "Newsies in Revolt." DAVID faces down ESTHER'S fury as MAYER, sympathetic, supports his wife. LES watches. SARAH sews, listening.

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

ESTHER Your family is depending on you!

DAVID They're trying to cheat us!

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

DAVID What I learned from you.

ESTHER And look what happened to him!

DAVID I'm a newsie, mom! The newsies are on strike, so I'm on strike. That's what father taught me. And that's what I'm going to do!

ESTHER impulsively strikes DAVID across the face and instantly regrets it. DAVID is shocked. Then he turns and climbs out onto the fire escape. ESTHER turns and looks at Les.

ESTHER From now on, you stay home.

INT. DAVID'S APARTMENT LATER ESTHER and MAYER lie awake in bed. She speaks softly.

ESTHER God help us, Mayor, he's just like you ... he thinks he can change the world.

MAYER Maybe he can.

INT. CIRCULATION OFFICE EVENING SEITZ and WEASEL are surrounded by stacks of unsold papers.

SEITZ You said you could handle them.

WEASEL I need to hire men, not half-starved kids. Give me cash and a free hand.

SEITZ I'll get you the money. You get these papers on the streets.

SEITZ exits. Several of WEASEL'S BOYS run in from outside.

A SCAB They took all my papes!

WEASEL kicks out the leg of a nearby table. He reaches down, wrenches it off the bent nail, tosses it to him.

WEASEL Get out there and sell.

EXT. NEWSIE SQUARE (OVERHEAD) NIGHT On the street, outside THE GATES to The World Building, BOOTS and CRUTCHY finish painting in red, their huge graffiti SLOGAN "Support the Newsies, Don't Buy The World."

ANGLE - LOADING DOCK OSCAR DELANCEY exits and sees BOOTS and CRUTCHY working with the paint brushes. He looks back inside and signals OTTO and his brother, MORRIS, to join him. Then the THREE start towards the gate. ANGLE - GATE BOOTS looks up and sees them coming. Grabs the paint and yells to CRUTCHY and they take off. OTTO and the BROTHERS burst through a side door and chase them. BOOTS drops the paint and takes off. CRUTCHY hobbles as fast as he can, but he doesn't have a prayer. He stops and turns, facing them, his crutch held high like a baseball bat. BOOTS turns and sees them surrounding CRUTCHY. MORRIS tries to got in behind him. CRUTCHY spins and slams him in the jaw with his crutch. MORRIS goes down. CRUTCHY, distracted, is overpowered by the OTHERS.

ANGLE - BOOTS Tears in his eyes and helpless, he watches from the shadows.

INT. DAVID'S APARTMENT SAME NIGHT SARAH hears a tapping, looks up and sees JACK at the window. She quietly goes to him and opens the window. ALL WHISPERS:

SARAH Do you know what time it is?

JACK I ain't got a watch.

DAVID wakes, sees Jack and comes to the window.

JACK The Warden's got Crutchy.

Still asleep DAVID stares at JACK, not comprehending.

JACK You hear me?

DAVID Yes ... but what can we do?

JACK Get 'em out. Come on.

DAVID begins to get dressed.

EXT. HOUSE OF REFUGE LATER THE SAME NIGHT The city prison for children is a somber structure, enclosed by a 12 foot high brick wall with an iron gate. Carrying a rope and a small crowbar, JACK and DAVID stand across the street in the shadows. JACK'S face reveals the trauma of his years inside those walls. They are about to sneak toward the wall when the gate opens and SNYDER and ANOTHER MAN exit and walk towards them. They pull back into the shadows. SNYDER walks right past then down the street. DAVID glances at JACK, shaken by the close call. JACK pulls himself together and leads DAVID to the side of the wall.

ANGLE - WALL DAVID makes a stirrup by intertwining his fingers. JACK steps into his hands and starts to climb up to his shoulders.

DAVID If we get caught, everything's ruined.

JACK I ain't leaving'm in there.

JACK stands on DAVID'S shoulder, grabs a spike at the top of the wall and pulls himself up.

INT. BUNKROOM HOUSE OF REFUGE SAME TIME Many bunks are cramed into a dark room. JACK, outside hanging from the rope, calls softly through the open window to an INMATE, 9, who lies awake.

JACK Hey!

The KID'S eyes bulge, seeing JACK floating outside the window.

INMATE Cowboy. You can fly.

JACK It's a rope, kid. Crutchy in there?

The BOY nods, jumps out of bed and runs off. JACK works at the bars with his crowbar. CRUTCHY and the BOY return. CRUTCHY battered in body and spirit, looks sickly. He leans against the bed. JACK sees him.

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

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

CRUTCHY I'm staying.

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

CRUTCHY Truth is, Jack, I ain't got the heart for the fight no more. (they lock eyes) We're getting too old to be hawking fish wrappers. You oughta go west like you always say. (smiles through pain) They still talk about ya breakin' out of here on TR's coach.

JACK, upset, stares. Crutchy touches Jack's hand under the window.

EXT. WALL HOUSE OF REFUGE SAME TIME DAVID waits in an alley across from the wall. JACK slides over the top of the wall, hangs, drops, gets up and runs towards him. DAVID sees the dark mood he is in as he gets closer. JACK never stops, as he moves past DAVID. JACK He's staying. JACK keeps going and DAVID runs to catch up to him.

EXT. NEWSIE SQUARE LATER SAME NIGHT DAVID and JACK sit staring into the deserted courtyard.

JACK When I got sent up, me and this kid, like Les, but younger, we busted out. Teddy Roosevelt was Police Commissioner then. He was goin' around....

EXT. HOUSE OF REFUGE (FLASHBACK) DAY All the BOYS lined up in the courtyard for an inspection by TEDDY ROOSEVELT. SNYDER stands proudly with his STAFF, watching the precedings.

JACK'S VOICE ... inspectin' prisons. Snyder had us all lined up in the courtyard like good little soldiers. Me and the kid sneaked onto the roof of Roosevelt's carriage...

See JACK and THE KID climbing onto the carriage and ride out through the gates, to the cheering of the BOYS.

JACK'S VOICE ... and rode on out. When we cleared the gates we stood up and waved to Snyder. He went crazy. The kids was cheering us. Roosevelt thought they was cheerin' for him.

EXT. NEWSIES SQUARE (PRESENT) NIGHT JACK smiles, thinking about the past. DAVID watches him.

JACK The reporters loved it... made all the papes.

DAVID What happened to the kid?

JACK He died... about a year later. Snyder spotted us on the street one day, started chasin' us. I hopped a wagon. I pulled him up next to me. The kid ... we was laughin', even ... he slipped and got caught in the spokes of the wheel. I seen it happen a dozen times. Snyder got into trouble all over again.

DAVID watches JACK struggle with the story.

JACK He was a good kid. We sold a lot of papes. I was just teachin' him to read the headlines.

DAVID What was his name?

JACK looks at him sharply, defences rising again.

JACK What's the difference?

JACK stands and walks off. DAVID follows.

EXT. RAILROAD YARDS SAME TIME NIGHT OTTO drives and WEASEL rides shotgun on a wagon as it rumbles through a desolate area. He holds a lantern aloft. Behind him is a line of wagons, lanterns bobbing. The stop by a bonfire, where ROUGH-LOOKING MEN pass a bottle. WEASEL shouts.

WEASEL I got two bucks a day for men who ain't afraid of rough work.

Most of the men flock to the wagon.

INT. CHEAP RESTAURANT EARLY MORNING DENTON scribbles some notes as he meets with DAVID.

DAVID You think they'll print it?

DENTON My boss thinks this story's gold. And the longer you keep the Hearst and Pulitzer rags off the street, the happier he'll be.

DENTON tries to pay for their coffee; the OWNER waves him off.

OWNER On the house. Doin' my part for the newsies.

DENTON You kids are gonna turn this town upside down.

As DENTON rushes out he passes JACK and BOOTS coming in. JACK and BOOTS move to David and sit.

JACK Where's the writer goin'?

DAVID I told him about Crutchy. Beating up a crippled kid, that oughta get people on our side.

JACK isn't pleased with David's using Crutchy for that.

DAVID Any word from Brooklyn?

Jack shakes his head: his mood dark, in contrast to David's high spirits.

BOOTS A lady's pushin' scab papes on the Brooklyn side of the Bridge. The guys want to soak her.

JACK You can't soak a lady. You know better than that. We'll get somebody else to do it.

DAVID You should tell them not to soak anybody.

JACK After what they did to Crutchy?

DAVID Denton says it makes us look bad.

JACK Oh, he does, does he?

DAVID Yeah. We should listen to Denton. He believes in us.

JACK He believes in his next raise, or impressin' his girlfriend. You think he cares about us?

DAVID Yes ...

JACK He's using us, like you used Crutchy ... to get sympathy.

David is stung. Jack pats him on the shoulder.

JACK It's okay. That's the way life is. Everybody uses everybody.

EXT. WORLD COURTYARD SAME TIME DAY Weasel reviews his little army of ADULT SCABS, handing out pay in cash.

WEASEL They may look like kids, but give 'em half a chance'and they'll tear you apart. (stops at ONE MAN) Get yaself a club or somethin'.

The MAN opens his jacket to reveal a length of chain wrapped about his waist. Weasel hands him his pay.

EXT. NEWSIE SQUARE SAME TIME DAY JACK, BOOTS and DAVID join the gathering NEWSIES, who carry signs proclaiming, "Don't Buy World" and "I Ain't a Scab." The BELL RINGS at the WORLD. The NEWSIES move to the GATES.

EXT. THE GATES WORLD BUILDING SAME TIME The gates swing open for a parade of seedy and bewildered ADULTS carrying newspapers and sticks. The NEWSIES stand in silent fury as the WAGON CONVOY starts to roll out. The first WAGON stops. NEWSIES blocking the way. DAVID sees the anger in JACK'S eyes.

DAVID Don't let this get out of hand.

JACK Do somethin' then.

DAVID moves up and lays down in front of the horses. The BOYS CHEER his bravery. WEASEL leaps off the wagon and tries to move DAVID. A scuffle ensues and DAVID catches a glancing cudgel blow on his cheek and goes down. As WEASEL raises the cudgel again JACK dives onto his back.

JACK Soak 'em for Crutchy!

The NEWSIES attack. The SCABS are inundated by the onslaught of little bodies. They drop their papers to flee, but there is nowhere to run, because from behind the wagons WEASEL leads his THUG ARMY into battle. A NEWSIE gets cracked on the head and falls, bloody. The NEWSIES fight desperately, but the don't have a prayer against the armed ADULTS. DAVID leaps onto the upraised arm of a THUG, pulling him down with a crash. His rage takes over, and he punches again and again at the man's face. He rises, looks at his bloodied hand as if it were a foreign object. JACK manages to jam a club through the spokes of a wagon wheel, stopping the convoy again. He dodges a blow from the DRIVER, grabs his arm and pulls him off the wagon. He steps on the fallen DRIVER, climbing over him onto the wagon. FROM THIS HEIGHT JACK SEES: A chaos of battles. WEASEL climbs atop the lead wagon, sorting his MEN to crush the NEWSIES. The wagons are starting to roll again. JACK shouts to DAVID over the din.

JACK They're killing us.

DAVID turns, sees something and grins.

DAVID Look!

JACK turns and sees what DAVID is pointing at.

ANGLE - DAVID and JACK'S POV SPOT CONLON wearing pink suspenders and an eager grin, is coming down the street at the head of the BROOKLYN NEWSIES. The MANHATTAN NEWSIES are starting to flee, bloodied and broken, when the FIFTY BROOKLYN BOYS come to the rescue. WEASEL'S wagon rocks with the impact of the fresh warriors. They easily lift it and turn it over. WEASEL runs back into the circulation room. The other MEN on the wagon flee.

EXT. NEWSIE SQUARE A MINUTE LATER A wagon lies on its side, wheels turning slowly. The victorious NEWSIES are busy tearing up today's edition of the World. JACK and DAVID embrace SPOT.

JACK Just like the 7th Cavalry!

SPOT Who?

JACK Never mind.

MUSICAL NOTE: THE NEWSIES, VICTORIOUS OVER THE SCABS, BREAK INTO A REPRISE OF THE "STRIKE SONG" AS THEY MARCH DOWN THE STREET AND PEOPLE SYMPATHETIC TO THEIR CAUSE THROW MONEY DOWN TO THEM. JACK COMMANDEERS A HORSE,JUMPS UP, PULLS DAVID UP BEHIND HIM AND THEY RIDE TRIUMPHANTLY IN FRONT OF THE PARADE. ON A ROOFTOP NEARBY, DENTON with camera, holds up a flash pan, ready to take a photo of the NEWSIE parade. As he FLASHES the photo ... see it appear on the cover of the paper, THE SUN as the MUSICAL NUMBER ENDS.

INT. SUN PRESS ROOM LATER SAME DAY The paper SPINS off the press, photo of the NEWSIES on the front page.

INT. CHEAP RESTAURANT LATER SAME DAY The same PAPER, behind DENTON'S BACK as he carries it to a table where the BOYS have coffee. DENTON proudly hands the paper to DAVID. David, his face bruised from yesterday's fighting, reads. Around the table sits JACK, SPOT, RACTRACK, BOOTS, and OTHERS ... all waiting for DAVID's take on the article.

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

The RESTAURANT OWNER hands ice in a towel to BOOTS.

OWNER Put that on his face, it will keep the swelling down.

As BOOTS holds it to DAVID's cheek, JACK grabs the paper.

JACK (reads) Led by enigmatic street arab, Jack Kelley, with his red bandana and golden tongue ... (looks up) My own paragraph. (to Denton) You describe me good, but ... (serious) When do I get a headline, like "Kelley Sparks Newsies"

The BOYS bombard JACK and his ego, putting him in his place. Jack smiles as we

HARD CUT to SNYDER, INSIDE THE HOUSE OF REFUGE, reading the same issue of the Sun late that night. A frail CHILD sets a cup of tea down beside him, then tiptoes away quickly. SNYDER lowers the paper, a sharp gleam in his eye.

INT. DAVID'S APARTMENT (MUSIC PLAYS OVER) DAY LES helps ESTHER and SARAH with their piecework. MAYER reads aloud from THE SUN: HEADLINE: "NEWSIES STRIKE SPREADS!"

MAYER Listen! "Newsie co-leader David Jacobs claims the lads will win easily. The strike has spread like wildfire...

He turns the page, and as the page sweeps across the screen, it

WIPES to: (BEGIN MONTAGE)

A) TRAIN PLATFORM NIGHT The sign reads Trenton. A MAN accepts bundles of Worlds from the train and loads them onto a hand cart. Suddenly, he is mobbed by a gang of NEWSIES, who tear up the papers.

MAYER (VOICE OVER) "... to every city served by the Hearst and Pulitzer papers ..."

B) NEWARK TRAIN STATION (SAME SET) NIGHT Torn newspapers lay scattered all over the platform.

MAYER (VOICE OVER) " ... including all of New Jersey and scattered areas..."

C) FALL RIVER, MASS.: TRAIN STATION (SAME SET) NIGHT In a fire, a wagon load of World papers go up in smoke as the horses are unhitched and moved away.

MAYER (VOICE OVER) "... from Massachusetts to as far away as Kentucky."

INT. DAVID'S APARTMENT (END MONTAGE) DAY LES throws down his piecework in disgust at being stuck at home while MAYER reads aloud from the next day's Sun. Headlines read: "NEWSIES HOIDING FIRM." and "HEARST, PULITZER HURTING." ... along with a SKETCH of PULITZER.

MAYER "Circulation is down at least 70 percent and advertisers are..."

MAYER smiles, proud of his boys. As we dissolve from the sketch of Pulitzer to:

INT. PULITZER OFFICE NIGHT PULITZER himself. We continue to hear MAYER'S VOICE, then bleed through to PULITZER'S VOICE, as he reads the Sun.

MAYER to PULITZER (V.0.) "... demanding refunds. The strike was sparked by a price hike ..."

PULITZER slams down his paper, startling SEITZ.

PULITZER These indegoddamnpendent newsies are killing us! How is this possible!?

SEITZ Denton's articles are picked up by every paper in the country. We've become a laughing stock.

PULITZER holds up his hand to stop SEITZ.

PULITZER They've had their fun. Time they understood. A newsies' union could hit them next. Get me the editor of the Sun. (SEITZ jumps up.) No! Get me the owner. I want the organ grinder, not the monkey.

SEITZ doesn't like the image, but he obeys anyway.

INT. EDITOR'S OFFICE, THE SUN DAY DENTON confronts B.K. ARNOLD, the EDITOR, 65, chunky, with black waterballoon-like bags under blood-shot eyes.

DENTON ... but sir, yesterday, front page, today one paragraph on page five? Surely it rates higher than that.

B. K. (a hidden agenda) I don't want to tell you what to write, Jake. That isn't what this paper is about. But I can't in good conscience continue to fan these flames. We're creating violence.

DENTON The boys were attacked, sir!

B. K. That's not what I was told.

DENTON (intense) I was there.

B.K. Calm down, son. It's only a story.

DENTON Not to me, sir.

B.K. Then you're too close.

DENTON stares at ARNOLD, he understands the message.

EXT. NEWSIE SQUARE NIGHT DAVID and JACK lie by the statue, drinking beer from a pail.

JACK You know Dave, I'm usually smarter than everybody I know.

DAVID Then you met me. (Jack smiles) And you'll never be the same.

JACK If you were me for one day you'd never want to be you again.

DAVID grins. JACK gets up and climbs the statue, sits on the statue's lap. Long pause as they look at the night.

JACK It's strange, seeing your name in the papes, ain't it?

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

JACK (impressed with Dave) Yeah ... that's it. (looks at him) I gotta admit, I like it. How about you?

DAVID nods again.

JACK How long will this strike last?

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

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

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

JACK What can he do to us?

DAVID Whatever he wants.

EXT. WORLD BUILDING DAY Newsies listlessly picket the World. One BOY drops his sign and wanders off.

INT. CHEAP RESTAURANT SAME DAY Jammed with hungry NEWSIES. The OWNER shouts over the din.

OWNER Sorry boys, there's no more sandwiches. I can't afford this strike no more.

NEWSIE #1 You ain't the only one!

The ill-tempered NEWSIES start to leave, complaining.

NEWSIE #2 I'm used to workin' for a livin'. How's a guy supposed to eat?

NEWSIE #1 With your big mouth.

EXT. NEIGHBORHOOD STREET DAY We are TIGHT on a copy of the Sun. The headline: "TROLLEY WORKERS SETTLE." DAVID, JACK, RACE, BOOTS, SPOT and other LEADERS search the paper for newsie coverage. One paragraph or, page five: "Newsies Still Out."

JACK They keep moving us back. Now they got us on page 12 under the Parker the Painless Dentists ads. Where's Denton when you need 'im?

SPOT Why don't they like us no more?

BOOTS They're tired of us.

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

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

DAVID Be serious.

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

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

JACK Irving Hall. We'd fill it with newsies from all over the city. That'll make news.

BOOTS Where do we get the money?

JACK How much could it be?

DAVID Lots.

RACE We took a collection.

DAVID There's fifty cents left.

The BOY'S enthusiasm levels out.

JACK I'll get the money. (they all look at him) And I'll get Irving Hall. But we've got to get the word to all the Ward leaders.

JACK sees a BICYCLE MESSENGER going uptown and whistles. The MESSENGER sees JACK, turns and comes back.

JACK How far you going up?

MESSENGER The Bronx.

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

MESSENGER I'll pass it along. As he pedals away, he yells over his shoulder.

MESSENGER Carryin' the bannerl

JACK Carryin' the banner!

EXT. NEIGHBORHOOD STREETS (MONTAGE) DAY Different MESSENGERS ON BIKES passing the "word" on to OTHER NEWSIES. Showing the importance of the MESSENGERS to the strike. The way news and information was carried.

INT. WORLD CIRCULATION OFFICE - DAY SNYDER stands erect before SEITZ, who reads a copy of the Sun, OTTO and the DELANCIES lounge on stacks of unsold Papers. WEASEL angrily signals them to look sharp in front of the boss. SEITZ finishes reading, hands the paper back to SNYDER.

SEITZ You know this Kelley boy?

SNYDER I do, sir. Escaped the Refuge years ago.

WEASEL On top of Roosevelt's coach.

WEASEL and the BOYS laugh. SNYDER goes crimson with anger.

SEITZ I read about that. (Snyder humiliated) Why haven't you apprehended him?

SNYDER He's very clever, sir...

OTTO He bunks at the Newsie House.

SNYDER It ain't like he's a criminal, sir. I need a warrant.

SEITZ stands, walks towards the door and opens it.

SEITZ Mr. Pulitzer takes great interest in the plight of our city's youth, Mr. Snyder. I'll have him speak to Chief Devery. You'll get your warrant. (Snyder smiles) Get Jack Kelley off the streets.

INT. WASHROOM NEWSIE LODGING HOUSE DAY JACK removes his box from its hiding place, takes out most of his MONEY, pockets it and returns the box.

INT./EXT. BACKSTAGE ENTRANCE OF IRVING HALL DAY As DAVID, in background, waits in the allay, JACK secretly hands his MONEY to FAT MAX. FAT MAX counts it.

FAT MAX This ain't enough. (Jack grins, pleading) I'll see what I can do.

MAX enters the theatre, JACK joins DAVID outside.

EXT. BACKSTAGE ENTRANCE IRVING HALL LATER JACK and DAVID wait. FAT MAX exits, waves JACK to him. They talk. JACK smiles, turns to DAVID and signals OK.

INT. NEWSIES LODGING HOUSE NIGHT KLOPPMAN talks to SNYDER and a COP.

KLOPPMAN I don't know any Jack Kelley. And you got no right coming in here.

SNYDER waves a warrant under KLOPPMAN'S face.

SNYDER This gives me every right.

KLOPPMAN moves from behind the desk and opens the door to the dorm just as JACK enters. He sees SNYDER; KLOPPMAN warns him off. JACK spins and walks back outside, as KLOPPMAN follows SNYDER and the COP inside the dorm.

EXT. NEWSIE LODGING HOUSE SAME TIME JACK exits and moves quickly away.

EXT. STABLE LATER SAME NIGHT JACK enters. Sitting around the paddock outside the horses stalls are Buffalo Bills' TWO INDIANS from Irving Hall, a MAN WITH A GUITAR AND A HARMONICA PLAYER ... drinking and singing. JACK listens for awhile, then moves to a back stall, enters and curls up near a HORSE.

INT. DAVID'S APARTMENT MORNING SARAH wakes before the OTHERS and looks out the window. SHE SEES JACK standing on the sidewalk just off the alley. He looks cold and disheveled.

EXT. DAVID'S APARTMENT / BAXTER STREET SAME TIME SARAH in her bathrobe leaves the building and sits on the stoop. JACK sees her and goes to her.

JACK David up?

SARAH No. You want to come in?

JACK I'll wait out here.

He sits down next to her. She pulls a roll from her pocket and eats. JACK watches her out of the corner of his eye. She tears off a piece and hands it to him. JACK, proud, won't take it.

JACK I ain't hungry.

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

JACK takes it and eats. Long silence. JACK's uncomfortable.

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

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

SARAH What places?

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

SARAH watches him as he talks, seeing another side. Then the door opens behind them and DAVID and LES exit. JACK turns, sees them, and jumps up.

DAVID You look horrible.

SARAH watches them as they walk off. LES takes JACK's hand.

LES I smell a horse.

INT. PULITZERIS OFFICE - DAY The SECRETARY takes away a half-eaten plate of food from PULITZER as he meets with MAYOR VAN WYCK and CHIEF DEVERY.

MAYOR It is a matter of priorities, sir. There are many demands on our men.

PULITZER (bellows) You appear to be confused, Mayor! We are your priorities! Who tells the voters when to turn the scoundrels out of office? We do. And if you want to keep your job, you'd better recognize that we are your employers.

The POLITICOS are frozen by Pulitzer's thunderous assault. The MAYOR bravely clears his throat. In a shakey voice:

MAYOR Can this be taken as an endorsment?

PULITZER pauses for effect, then continues, almost sweetly.

PULITZER I speak for Mr. Hearst, too, when I say that anyone who can stop these assaults on our dealers will find friends at the World and Journal. (he rises, they rise) Bust up that rally at Irving Hall tonight.

The MAYOR looks askance at Chief Devery. Pulitzer changes gears and with a smile.

PULITZER My wife and I are having a few guests over tonight. Can you join us?

MAYOR Love to.

They shake hands and exit. PULITZER sits as SEITZ enters.

SEITZ We're endorsing Devery and Van Wyck?

PULITZER It seems we become what we hate, Mr. Seitz. (closes his eyes, to himself) We become what we hate.

INT. DAVID'S APARTMENT NIGHT ESTHER scrapes the pot to get the last soup into the family dinner bowls. There is a KNOCK on.the door. LES leaps up to open the door for JACK. DAVID, LES and SARAH start to leave.

ESTHER Wait!

DAVID Mama, it's the big meeting...

ESTHER Jack. You can't go with a hole in your pants.

JACK, embarrassed, looks down at the hole in his knee.

SARAH I'll fix them, Mama. (prepares a needle) Give me your pants.

JACK would rather die than take his pants off. ESTHER gives one end of a blanket to DAVID, and offers one to LES.

ESTHER Hold this up, give him some privacy.

JACK, behind the blanket, removes his battered pants and hands them to SARAH. As she works, he wraps the blanket around him and stares at her. David and Les sit in bored disbelief, waiting.

EXT. PULITZER MANSION NIGHT A crisply-creased trouser leg steps out of a carriage and onto a driveway. We hear MUSIC coming from inside the brightly-lit mansion. Elegant PARTYGOERS sweep from their fancy carriages and promenade to the front door.

EXT. IRVING HALL NIGHT The street is jammed with NEWSIES trying to get inside. The din is incredible; celebrating their power over the city. JACK, DAVID, SARAH and LES move through the NEWSIES in the lobby, shaking hands, joking, dodging friendly punches. We hear a BAND inside playing a raucous MUSIC HALL NUMBER. INT. WORLD CIRCULATION OFFICE SAME TIME WEASEL, eating, hears a noise, gets up and goes to the window. See MEN gathering outside, including OTTO and the DELANCEYS. While WEASEL is distracted, a RAT drags away his chicken.

INT. STUDY/ PULITZERIS MANSION NIGHT The party goes on beyond the open door. PULITZER and his Southern belle wife, KATE, move among the guests. She talks, while he merely nods and smiles politely. KATE chats with CHIEF DEVERY and MAYOR VAN WYCK, while PULITZER shakes their hands and makes his escape. GEORGE JAY GOULD, 35, owner of Western Union, sees PULITZER alone and corners him. GOULD glances at DEVERY and the MAYOR, speaks into PULITZER'S ear, making PULITZER wince.

GOULD Making new friends, are de?

PULITZER Taking your advice, Mr. Gould.

GOULD Good. Can't afford to coddle the little bastards. Make them wear uniforms, like I do my messengers. That way they know who's boss... (whispers) ... and you make a tidy profit on the clothes. PULITZER smiles wanly, moves on. He pulls some cotton wadding from his pocket, stuffs more into his already-stuffed ears.

INT. IRVING HALL / STAGE SAME TIME NIGHT As the BAND plays, a caricature of PULITZER with a big papier mache head chases a group of NEWSIES trying to bash them with a big papier mache sledge hammer. The NEWSIES, played by JACK, DAVID, LES, RACE, BOOTS, MUSH and MUD, come up behind PULITZER, kneel behind him. Then OTHERS push him onto his back. Like Humpty Dumpty he can't get up. S.R.O. The NEWSIES go wild, cheering, hanging from the rafters. The hall is jamed beyond capacity. Shouting NEWSIES perch on every available surface: railings, window sills and the shoulders of their fellows.

ANGLE - WINGS SAME TIME DAVID, JACK andthe BOYS run off to a huge applause. FAT MAX and SARAH standnearby, clapping. The BOYS rush back out, take a bow and run back off, having a great time.

INT. IRVING HALL SAME TIME NIGHT Between skits, speeches. WISSIG, a florid politician in his 50s, shouts over the noise.

WISSIG Don't break the law; don't use dynamite, but stick together and you'll win. I know. I was a newsie once myself. It ain't the end of the road. If you got parents tell them to vote for me!

ANGLE - WINGS DAVID and JACK see SPOT bending DENTON'S ear. They go to them.

JACK Some turnout, huh, Denton?

DAVID Will it get us on the front page?

DENTON It should, it deserves it.

DAVID But it won't...

DENTON I don't place the articles. All I do is write them. (the BOYS are disappointed) They're putting pressure on everyone. Stop the violence. You're playing into their hands.

DAVID looks at JACK to see if the message was received.

EXT. POLICE STATION NIGHT The courtyard is eerily lit by torches as a SMALL ARMY of MOUNTED POLICE (several squads) trot through. A SERGEANT questions the CAPTAIN in charge.

SERGEANT What's the Chief so riled about?

CAPTAIN Newsies at Irving Hall.

EXT. IRVING HALL NIGHT The NEWSIES are dead-quiet, listening to the sounds of the meeting inside. Every time the NEWSIES inside cheer, the outside NEWSIES cheer along with them. See SNYDER, MACSWAIN and TWO COPS cruising the outer circle of BOYS, looking for JACK.

INT. IRVING HALL / WINGS SAME TIME NIGHT JACK and DAVID have a heated exchange while the BAND plays and on stage a CLOWN juggles bricks.

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

DAVID Don't be ridiculous. Violence begets violence.

JACK (misunderstanding) And whose fault's that?

DAVID (shakes his head) It has to stop. We need the city on our side ... the people ... the papers. (Jack sees his point) Tell 'em, Jack. They'll listen to you.

JACK thinking, looks across the stage and sees LES jumping around waving his hands, standing next to SARAH. DENTON comes up behind them. JACK turns and sees him. They watch the act on stage finish. The BAND stops and the KIDS cheer for more as the PERFORMERS exit stage right. JACK looks from DENTON to DAVID then over at SARAH and LES, making up his mind. He hitches up his pants and walks out to center stage. The CROWD erupts. He moves down front and waits for the them to quiet down. DAVID to DENTON.

DAVID You taking notes?

DENTON smiles and takes out his pad. JACK, CENTER STAGE, basking in the adulation, turns back and looks at SARAH and LES. Letting them share in his experience. He points to the patched hole in his pants and smiles. JACK turns and raises his arm for silence. They quiet.

JACK Bummers, snoozers, newsies and citizens of New York City! Welcome to the rally! (the boys cheer) Havin' a good time? (they cheer again) Carryin' the banner!

The NEWSIES echo the call. JACK yells out again.

JACK Carryin' the banner! (they repeat) It's time I talk to you a little. Me and David... (looks to wings) Come out here Dave, show'm your face.

DAVID, terrified, freezes. DENTON pushes him out. The KIDS cheer. DAVID takes a bow, raising his hand.

ANGLE - WINGS SARAH and LES applaud, hard.

ANGLE - BACK OF THEATRE MAYER and ESTHER see their son an stage. MAYER blushes, proud. Esther takes his hand.

ANGLE - STAGE DAVID backs off as JACK continues.

JACK We thought it was time for you fellas to get together and get to know each other... and have a good time.

The BOYS howl. JACK does a shuffle step. The KIDS roar.

INT. BACKSTAGE / IRVING HALL SAME TIME NIGHT TRACK with SNYDER, MCSWAIN and TWO COPS as they bully past FAT MAX and walk to the stage.

ANGLE - STAGE The NEWSIES almost tear the place apart. JACK quiets them.

JACK Let me say something about them wagon drivers that got "done up" on Madison last night. (the boys cheer) I don't believe in fightin' no more.

The BOYS "BOOOOOOOOOO" their displeasure.

ANGLE - WINGS DAVID sees SNYDER, MCSWAIN and TWO COPS. They split up; SNYDER and ONE COP on one side of the stage and MCSWAIN and the OTHER COP on the far side. He yells a warning to Jack.

DAVID JACK! JACK!

Jack doesn't hear him.

NEWSIE It was you leadin' us!

JACK I'll admit it, I was one of the boys that soaked 'am. But I've had a change a heart. It ain't right no more.

The Newsies murmur. DAVID has no choice but to walk out slowly and stand next to Jack. JACK looks at DAVID, sees the panic in his eyes.

DAVID Look in the wings.

JACK turns and sees MCSWAIN on one side and SNYDER on the other. He's trapped.

DAVID What do we do now?

JACK Close the show.

They exchange a look. Then Jack faces the BOYS.

JACK You boys know me. I been out front for all the action ... but now I'm tellin' you, no more violence. Let up on the scabs. That's what I want from ya!

NEWSIE What should we do? Kiss 'em?

The BOYS howl.

JACK quiets them.

JACK That's up to you. (Boys laugh) But we'll win more people to our side with a good story in the Sun, like we're sure to get after tonight, than we'd ever get by bangin' them scabs around.

Some BOYS applaud the sentiment ... OTHER join in.

JACK And you save the wear and tear on your knuckles. (the Boys laugh) Thanks for listening! See you at the gates bright and early tomorrow! Save your money ... don't buy ice cream!

Big applause. JACK makes a quick bow then takes off running and leaps off the stage, leaving David alone. The BOYS gasp as one. JACK lands among the BOYS, gets up and as they clear a path, he sprints to the back door.

ANGLE - WINGS AND STAGE SNYDER and a COP appear, going after JACK. The BOYS see SNYDER and yell his name, "SNYDER!" David turns and tackles SNYDER as he tries to pass. The NEWSIES cheer. MCSWAIN and the OTHER COP come to his aid, pulling DAVID off him.

SNYDER to MCSWAIN: SNYDER Arrest him!

ANGLE - BACKDOOR JACK running out sees a disappointed MAYER and ESTHER by the door. OTHER NEWSIES run with JACK as he exits.

EXT. IRVING HALL / FRONT-DOOR SAME TIME NIGHT JACK runs out and slides to a stop, looks out over the street.

ANGLE - JACKS POV Blocking JACK's path, in a half circle in front of the theatre, are the TWO SQUADS OF MOUNTED POLICE. Behind them, WEASEL and TWO WAGONS OF THUGS. The OUTSIDE NEWSIES have been pushed back ... behind police barricades.

ANGLE - JACK OTHER NEWSIES pour out of the theatre behind him. Everyone freezes. A quiet hush falls over the CROWD. A horse neighs. Suddenly SNYDER and the COPS burst through the CROWD and grab JACK, roughing him up. The NEWSIES go wild. A Melee erupts. NOTE:IN A STYLIZED, EXPRESSIONISTIC DANCE OF VIOLENCE SEE:

A. JACK breaks free of SNYDER and runs between the HORSES.

B. The MOUNTED POLICE swing long billy clubs from atop their huge mounts as they cut through the CHILDREN.

C. The CHILDREN try to flee but are too densely packed. The long nightsticks connect again and again. Children's tears mix with blood as they fall or scramble over one another; squeezed between the COPS and WEASEL'S MEN.

D. The sound of hooves on cobblestones is deafening. The LEAD HORSES rear in panic, shying away from the CHILDREN, but the POLICE spur them on. They step high to avoid the fallen.

E. WEASEL leads a squad of club-weilding THUGS, mowing through the NEWSIES like farmers with scythes.

F. Several HORSE-DRAEN PADDY WAGONS pull up. The FOOT POLICE load them with NEWSIES.

G. DENTON, his face registering the horror of the scene, stands in the back of a wagon, crying; trying to take a picture of the violence. He is stopped by SEVERAL BURLY COPS.

H. JACK is grabbed by the COPS and carried off, twisting and kickilng.

I. MAYER, ESTHER, LES and SARAH watch, helplessly.

J. MCSWAIN drags DAVID away from the riot.

MCSWAIN I'm too soft for me own good. (Lets David go.) Now go on, get out of here.

DAVID looks at him dumbly. Tears streak his face. Then he turns and runs.

108.EXT. IRVING HALL NEXT DAY DAVID and LES survey the wreckage of the riot, broken sticks, newspapers, hats. He pauses over a bloody shirt.

DENTON (out of sight) I'm sorry, kid.

DAVID holding a Sun paper in his hand looks up, sees DENTON.

DENTON Pulitzer and Hearst cut a deal with the Sun. No headlines. Nothing about the rally. (David angry, stares) I quit.

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

DENTON No paper in town'll hire me.

DAVID They got Jack.

DENTON They got us all, kid. C'mon.

He puts an am around DAVID'S shoulder and they walk off.

INT. COURTROOM DAY JUDGE CRANE'S courtroom is crowded with NEWSIES. CRANE, 65, is a desiccated man with a knack for speedy injustice. A NEWSIE stands before him. Tears streak his grimy little face.

CRANE Three dollar fine. Next.

DENTON and DAVID enter. DAVID spots JACK in line of battered newsies. JACK winks at him. The BAILIFF brings MORRIS DELANCEY forward. WEASEL rises, hair slicked down and a new collar on his shirt. He nods to the JUDGE.

WEASEL He's one of ours, your honor.

CRANE Dismissed. Next!

The NEWSIES hiss and boo.

CRANE gavels for silence. The BAILIFF brings up KUEHN, 14, a bloody bandage on his head.

BAILIFF H.H. Kuehn, assault.

KUEHN I been framed!

The NEWSIES laugh.

CRANE's face darkens. He bangs the gavel.

CRANE One more outburst and you'll all be in the workhouse till Christmas. Twenty days. Juvenile Asylum. Next!

KUEHN is deflated by the harsh sentence.

BAILIFF (O.S.) Jack Kelly. Inciting to riot, assault, resisting arrest.

WEASEL A ringleader, your honor.

JACK (cocky) I object to Mr. Weaselman talkin' about us on any grounds. He's a snake ... your judgeship.

The JUDGE glares at JACK. The NEWSIES applaud, but stop when the gavel comes down. The BAILIFF whispers to the JUDGE.

CRANE Someone wants to speak on your behalf, young man. Approach the bench, Mr. Snyder.

JACK'S bravado leaves him when he sees SNYDER approaching.

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

JACK You're a liar!

CRANE Silence!

The NEWSIES whisper. JACK looks at David, sees the stunned look on his face and averts his eyes. DAVID, shocked, looks up at DENTON.

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

JACK No ...

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

JACK Send me to the adult slamer inst - !

CRANE That'll be up to Mr. Snyder. I remand you to the custody of the Warden of the Juvenile Asylum.

He slams the gavel. JACK is destroyed. SNYDER puts on a show of solicitude as he gets a firm grip on JACK'S am.

SNYDER (victorious) Thank you, your honor.

He leads JACK past the newsies to the door. DAVID is aghast, follows them out the door.

EXT. HOUSE OF REFUGE EVENING SNYDER'S carriage clops through the gates into the courtyard. JACK seems barely aware of what's happening, but he turns to see the gates clang shut behind him.

EXT. OUTSIDE THE ASYLUM GATES - A MOMENT LATER Several NEWSIES loiter near the gates as DAVID runs up, panting and looks into the courtyard. The GATE GUARD yawns and hits his club against the bars near David's hands.

GATE GUARD Get outta here!!! He settles into a chair for a snooze.

David turns to see the other newsies watching him.

DAVID Did they bring Jack Kelley in?

NEWSIE #1 Just now. In the Warden's own personal carriage.

KID They got my big brother, too. (sees something) Beat it!

The BOYS scatter. DAVID sees WEASEL driving a carriage up to the gate. SEITZ sits beside him.

INT. DORM / HOUSE OF REFUGE SAME NIGHT A GUARD tosses bedding onto a plank cot in a grim dormlike room, goes. JACK sits on the bed. CRUTCHY hobbles over.

CRUTCHY Didn't figure on seeing you in here again.

JACK I won't be here long, Crutchy. Nothing's gonna keep me.

Then the lights snap out.

INT. HOUSE OF REFUGE / SNYDER'S OFFICE SAME NIGHT SNYDER meets with SEITZ and WEASEL.

SNYDER ... set him free?

SEITZ Not free. We'd like to take him to meet Mr. Pulitzer. He wants to talk to the boy. (Snyder confused) Mr. Pulitzer is concerned that he has helped these wild boys to survive and flourish in our streets. He'd like to make amends.

SNYDER How does he propose to do that?

SEITZ I understand the press has treated The Refuge badly in the past. We'd like to set the record straight. Tell the public of the good work you are doing. The politicians will take note, and provide you with greater resources.

SNYDER (interested) I think I should come along.

INT. REFUGE DORMITORY NIGHT It's dark. JACK and CRUTCHY work at removing the bars outside the window. When the lights flick on they move quickly back to their beds. SNYDER enters.

SNYDER Francis Sullivan!

Jack slowly rises. The other prisoners watch wonderingly.

EXT. REFUGE COURTYARD - NIGHT SNYDER leads JACK to the carriage. JACK balks when he sees WEASEL at the reins.

WEASEL Hello, Francis.

SEITZ (wearily) That'll do, Mr. Wieselman.

JACK has no choice but to climb into the wagon beside SEITZ.

EXT. REFUGE OUTSIDE THE GATES NIGHT DAVID is the only newsie left when the carriage rolls out with JACK wedged between SEITZ and SNYDER. DAVID runs as fast as he can after the carriage. A wagon rolls by heading in the same direction. DAVID grabs the back and pulls himself up behind the huge spinning wheels.

EXT. STREET - NIGHT The carriage turns a corner. DAVID hops off his wagon, pursues on foot until he can catch a ride on the back of another carriage.

EXT. PULITZER MANSION - NIGHT The carriage pulls into the Pulitzer driveway. JACK looks at SNYDER, confused. SEITZ speaks to the waiting FOOTMAN.

SEITZ Mr. Pulitzer is expecting us. (to Weasel) Wait here.

ANGLE - DAVID OUTSIDE GATES DAVID sees JACK, SNYDER and SEITZ exit the carriage and enter.

INT. MANSION SAME NIGHT The magnificent hall stands silent. SEITZ enters PULITZER'S study as a BUTLER leads SNYDER and JACK to armchairs outside. JACK has never seen such luxury. He stares as if in a dream.

BUTLER May I offer you a drink, young man?

JACK is staring at a silver urn.

JACK Huh?

BUTLER A drink. Lemonade? Hot chocolate?

JACK Hot chocolate? Sure ... for my pal, here. (gestures to Snyder) I'll take a beer.

It is a little flash of the old JACK, extinguished when SNYDER pulls his arm, forcing JACK down in a chair.

EXT MANSION NIGHT DAVID peeks around the wall into Pulitzer's driveway. WEASEL chats with the FOOTMAN, leaving the carriage unattended. DAVID scurries under the carriage, reaches for the pin connecting the horse to the carriage.

INT. PULITZER'S STUDY NIGHT PULITZER sips tea in an armchair. The atmosphere is hushed, as usual. SEITZ stands. SNYDER enters, holding JACK by the arm.

PULITZER Thank you, Mr. Snyder

It sounds like a dismissal. SNYDER pauses, unsure what to do.

SEITZ We'd like to speak to the boy alone.

SNYDER reluctantly exits, leaving JACK alone in the middle of the room. The BUTLER gently guides JACK to sit. JACK feels the leather, entranced. The BUTLER moves a cup and saucer, causing a sharp rattling sound. PULITZER winces.

BUTLER Excuse me, sir.

JACK stares at PULITZER as the older man makes an effort to regain his composure.

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

JACK Things ain't going too good for you?

PULITZER chuckles, the first time we've seen him laugh.

PULITZER Let me get a better look at you.

SEITZ is surprised. He guides JACK to stand right in front of PULITZER. JACK flinches as the old man reaches for his face. SEITZ pats JACK to reassure him as PULITZER explores the young man's face. PULITZER finishes, sits back, thoughtful. SEITZ signals JACK to sit again.

PULITZER You seem an intelligent young man. Tell me, what do you want in life?

JACK A chance.

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

JACK Exactly my sentiments.

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

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

PULITZER Good! You have spirit. What do you need? Train fare. A stake to start a business, buy some land. How much? (swift pause) Say, a hundred dollars.

JACK A hundred!

JACK thinks it is an impossible amount of money. PULITZER pretends to misinterpret Jack's outburst.

PULITZER All right. Two.hundred. (Jack swallows) How long would it take you to save two hundred dollars? Ten years? I'll tell you a secret. Very soon, now, newspapers will be delivered directly to the home and the independent newsie will be history. Where will you be then, young man? Will your fellow strikers be around to help you? You haven't touched your drink.

JACK is caught off guard. He takes a sip from the cup.

PULITZER You're starting out with several strikes against you, Mr. Sullivan. But this is America, you can rise above your circumstance. I did. I had nothing, and now...

JACK You got everythin'.

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

PULITZER nods to SEITZ and exits. JACK is silent, absorbing what he has said. Seitz watches Jack for a moment.

SEITZ Here's the offer. Go back on the street and sell the World and we'll give you two hundred dollars and a new suit. For your new life. (Jack cuts him a look) Or you can spend the next few years in Mr. Snyder's care. It's up to you.

EXT. PULITZER'S HOUSE NIGHT JACK emerges from the mansion with SEITZ and SNYDER. Jack is completely passive, deep in thought. They climb into WEASEL'S carriage and trot off.

EXT. STREET NEAR PULITZER'S HOUSE SAME TIME NIGHT DAVID chases the carriage at a discreet distance.

ANGLE - UNDER CARRIAGE David has reversed the pin so it can slip down and fall out. The carriage hits a bump, and the pin drops.

EXT. THE CARRIAGE NIGHT The carriage suddenly lurches to a halt as the horses separate from the carriage. They spook and flee, the pole dragging between them. Weasel hits the ground. Seitz, Snyder and Jack are tumbled forward. No one is hurt, but all are disoriented. Jack feels someone tugging on his am. He looks, sees DAVID frantically pulling him to his feet, dragging him away. JACKs legs respond by reflex. SNYDER regains his senses in time to see DAVID and JACK fleeing into the night.

SNYDER Stop them!

Snyder starts to chase them. Weasel stops him.

WEASEL Don't worry. He's got no place to go.

EXT. STREET NIGHT David and Jack walk down the street, safe for now. David is still fired by their escape. Jack is remote.

DAVID What did he say?

JACK Nothin' I ain't heard before... He's worried about my future.

DAVID sees he's changed, distracted ... something happened.

DAVID He made you an offer.

JACK What if he did? I'm here with you, ain't I?

DAVID, seeing the dilema JACK is wrestling with, nods, knowing not to push it. JACK still a mystery to him.

EXT. ALLEY / DAVID'S APARTMENT LATER SAME NIGHT DAVID and JACK sneak through the shadows to the fire escape.

JACK I don't want your family involved with this.

DAVID We're used to it.

DAVID starts to climb, JACK follows.

INT. DAVIDS APARTMENT LATER SAME NIGHT The window opens quietly and DAVID and JACK climb into the apartment. LES and SARAH are both asleep. MAYER'S voice comes from behind the curtain.

MAYER'S VOICE David?

DAVID Yes, sir.

MAYER pulls back the curtain, sees JACK and DAVID.

MAYER They let you go?

JACK Sort'a.

MAYER studies the boys, he knows that is not the truth.

MAYER Get some sleep.

SARAH wakes and watches as DAVID tries to give JACK his place in bed next to LES. JACK won't hear of it and lays down on the floor. DAVID gives JACK his pillow and blanket .. JACK settles in and looks up at David.

JACK Thanks for stickin' your neck out.

DAVID What're friends for?

JACK nods, feeling guilty. David rolls over and faces away. Jack unable to sleep turns and looks up into Sarah's prying eyes. They look at each other. Jack's emotions are upside down. Sarah smiles and closes her eyes, going back to sleep.

INT. DAVID'S APARTMENT LATER SAME NIGHT ESTHER slips out of bed to check on Les and sees JACK sleeping on the floor. She shakes her head, dismayed and moves back to bed. Jack's eyes open. He listens to Esther and Mayer talk behind the curtain.

ESTHER Jack's here.

MAYER I know.

ESTHER He can't stay, Mayer. If they come for him, they'll take you. What will happen then?

MAYER Don't exaggerate, it's just for the night. Now go to sleep.

JACK picks up his boots and slips out the open window. SARAH wakes and sees him leaving. She gets up, pulls on her robe and moves to the window.

EXT. DAVID'S APARTMENT SAME TIME NIGHT As JACK quietly makes his way down the fire escape stairs, SARAH climbs out of the window and whispers.

SARAH Jack ... Jack.

JACK turns. She sees the troubled look in his eyes.

SARAH You don't have to sneak out.

JACK (defensive, snaps) I'm not. I just don't want'a sleep no more. Okay? Is that all right with you?

SARAH What is it, Jack?

JACK Nothin'. (looks away) Everythin'. It's just not right any more. Nothin' is.

He continues down, drops to the alley, pulls on his boots and slips off into the chilly night. SARAH pulls her robe around her and begins to sing the BALLAD: "WHAT WILL BECOME OF THE BOY?" As she sings we cut to:

EXT. NEWSIE LODGING HOUSE SAME NIGHT Hear SARAH'S BALLAD over and see JACK cautiously approach The HOUSE. He sees a COP out front and backs away.

EXT. STABLE SAME NIGHT JACK tries to get in, all the doors are locked. He moves on. (INTERCUT WITH SARAH SINGING)

EXT. ALLEY SAME NIGHT Hear SARAH SINGING OVER as JACK tries the coal chute door. (Previous Scene) The door is nailed shut. It starts to rain. He hears SOMEONE getting beaten drift down the street. Jack roots about in some garbage cans, finds a stick. He hefts it in his hand, testing its value as a weapon. He moves on.

EXT. STAIRWELL BELOW SIDEWALK SAME NIGHT Sarah sings on. JACK finds a dry spot under a stone staircase. He uses his shoes as a pillow and his jacket as a blanket. He's skilled at this, from his old life on the street. He winces as he settles in, his bruises hurting from yesterday's battle; his hand on the stick.

THEN HE SINGS: REPRISE of JACK'S BALLAD, he sings in COUNTERPOINT TO SARAH.

EXT. FIRE ESCAPE DAVID'S APARTMENT SAME TIME NIGHT Rain. Sarah finishes singing and enters the apartment.

INT. DAVID'S APARTMENT SAME TIME NIGHT Sarah slips into bed. Unable to sleep, she looks over and sees DAVID watching her. They read each other's thoughts.

DAVID Stay out of it, Sarah.

EXT. JACK'S STAIRWELL DAWN The tenements are outlined by the light of dawn. JACK suddenly sits bolt upright, as if awakened from a nightmare. A few feet away he sees two tiny, grimy URCHINS huddled together, still asleep. Jack stares, seeing the image of himself as a child.

EXT. DAVID'S BUILDING / STREET DAY OTTO and the DELANCEYS lounge in a doorway. Otto nudges OSCAR and points.

EXT. ACR8SS THE STREET (THUGS POV) DAY LES and SARAH emerge from their building. Sarah carries a basket of lace on her head. They walk off. EXT. WORLD BUILDING DAY JACK stands at the World fence, staring in; struggling inside with a decision. The gates are guarded by POLICEMEN. EXT. STREET DAY SARAH walks at the edge of the crowded sidewalk. LES skips ahead. OTTO and THE DELANCEYS are right behind Sarah. OTTO bumps her hard, knocking the basket into the gutter.

SARAH Oh, no!

She starts to pick up the lace.

OTTO Oh, scuse me, Miss.

OSCAR Lemme help you.

They step all over the lace, grinding it into the mud.

SARAH Stop! Please...

SARAH suddenly realizes this is a deliberate attack. OTTO touches her hair and face, smearing her with mud.

OTTO Here, leme wipe yer pretty face.

LES races back and leaps onto Otto's back, knocking him to the ground. THE DELANCEYS laugh as Otto peals the enraged Les off his back and whacks him upside the head. Les stunned stays down and Sarah goes to him.

OTTO Say hi to your brother.

OTTO and THE DELANCEYS walk off.

INT. CIRCULATION ROOM SAME DAY JACK has surrendered. He stands before WEASEL, SEITZ and SNYDER. Weasel's boys look on. Weasel grins at Snyder.

WEASEL Told you he'd be back.

SEITZ tosses a suit of clothes at Jack. Jack can barely muster the spirit to speak.

JACK I don't fancy the color.

SEITZ You'll wear it while you're selling, or Mr. Snyder will be choosing your outfits from now on.

JACK opens the jacket. SEITZ is satisfied. He exits, seeming glad to leave. Jack slowly starts to undress.

EXT. NEWSIE SQUARE SAME DAY The dispirited NEWSIES gather once again. The LEADERS are grim-faced, watching the POLICE at the gates.

SPOT Some guy offered me fifty bucks to sell the Journal. I was tempted.

RACETRACK It ain't a fair race no more. How can we soak 'em when they got the bulls on the payroll?

DAVID runs up to join the meeting.

DAVID Anyone seen Jack?

BOOTS Warden got him.

DAVID No, he's out... of...

NEWSIE (O.S) Here they come!

EVERYONE moves to the OPENING GATES.

ANGLE - WORLD GATES SIX POLICEMEN exit, joining the others outside. The wagons roll out, followed by nervous SCAB NEWSIES. There are a number of familiar faces. The NEWSIES watch, shocked.

CHARLIE There's Blink!

NEWSIE (O.S.) Who's that in the fancy duds?

It's JACK, carrying the World, uncomfortable in his new clothes. He bearly looks up. DAVID stares, open-mouthed.

DAVID Jack!

JACK sees DAVID. He takes on a hardened look. David starts to run forward. BOOTS stops him. David, angry, takes command.

DAVID Fan out! Take am when they split up.

The NEWSIES obey. DAVID watches, anguished, as JACK moves off with the convoy.

EXT. STREET OFF NEWSIE SQUARE LATER SAME DAY JACK halfheartedly sells the World, guarded by TWO POLICEMEN. DAVID, SPOT and BOOTS watch, mournful

SPOT I don't even feel like soakin' the bum. Get me hands dirty.

Boots starts to say something, but there is nothing to say. He walks away with Spot, leaving David staring at Jack.

ANGLE - JACK and THE COPS David walks determinedly across the street. Jack freezes. The Cops step forward. Jack waves them back, bracing himself for David's wrath. The Cops hover close by, ready for action.

DAVID You're a liar! You've been lying since the minute I met you. You made up headlines like you made up your life. You probably don't even have a brother. You never even told me your real name!

JACK So ... what're you gonna do about it, Davey?

David, enraged, slugs Jack. Jack stumbles back and the cops grab David. Jack hand to his mouth.

JACK Let him go.

The cops push David away.

DAVID I don't understand you.

JACK No? Well, lemme spell it out for you. See, I ain't got nobody to tuck me in at night. It's just me and I gotta look out for myself.

DAVID You had the newsies.

JACK What'd bein' a newsie ever give me but a dime a day and a few black eyes? I can't afford to be a kid no more. I got a fifty dollars in my pocket and more on the way, and as soon as I collect, I'm gone.

DAVID Good. We don't need you. You were always using my words anyway.

JACK Cause you ain't got the guts to put 'am over yourself.

DAVID I do now...

David turns and walks off. Then he stops and looks back.

DAVID You're right about one thing though. You're not good enough for my sister. You're a scab!

JACK (hides his pain) You're breakin' my heart.

The two boys stare at each other for a long moment.

DAVID You'll finally get your headline, Cowboy. "Newsie Leader Sells Out."

David turns and walks off.

EXT. BAXTER STREET DUSK DAVID walks home, emotionally beaten and exhausted.

INT. DAVID'S APARTMENT NIGHT The family sits in silence at the table, eating dinner as the door opens and DAVID enters. He stops when he sees them, he knows something is wrong. As he hangs up his coat, ESTHER dishes out and serves his dinner. David sits. He and SARAH make eye contact, but she can't warn him.

MAYER Your mother and sister lost their jobs today. (David shocked) Some boys from the paper ruined their lace.

LES Otto and The Delanceys.

ESTHER This has to stop, David. Mr. Fisher needs a delivery boy. I want you to -

DAVID I can't quit now, Mom, even if I wanted to.

ESTHER Mayer.

MAYER He'll do what he has to do, Esther.

LES Cowboy'd never quit.

DAVID Shut up, Les. You don't know what your saying.

Les, stung by the betrayal, turns to his brother.

DAVID He already quit, Les. He's selling for The World again. He's a scab.

Both Les and Sarah are shocked. Mayer shakes his head sadly.

DAVID They bought him off. (Les crushed) I didn't want to tell you, Les. But you would have found out soon enough.

LES Cowboy wouldn't do that. David says nothing and begins to eat.

They all watch.

DAVID I'll move out till this is over.

Esther looks at Mayer, pleading him to stop David.

MAYER That won't be necessary. We'll manage.

EXT. NEWSIES LODGING HOUSE NIGHT TWO COPS on guard. JACK comes down the sidewalk and enters.

INT. NEWSIES L0DGING HOUSE SAME TIME NIGHT MR. KLOPPMAN sees JACK. He is disillusioned but civil.

KLOPPMAN Good evening, Kelley.

JACK Ain't it though.

They have nothing to talk about. Jack enters the dorm.

INT. DORM / NEWSIES LODGIKG HOUSE SAME TIME NIGHT The BOYS treat JACK like a leper. But nobody dares to confront him. They turn their back as he moves into the washroom.

ANGLE - WASHROOM Jack waits for A BOY to leave, then goes to the secret hiding place under the sink. His MONEY'S GONE. The PHOTO of his family lies ripped up in the bottom of the box. Jack backs into a stall, falling on the toilet, angry. Tears begin to run down his cheeks. He shuts the door. Hear him banging his head against it.

EXT. NEWSIES LODGING HOUSE LATER SAME NIGHT JACK exits, wiping his eyes. ONE of the COPS on guard whispers something to the other and he laughs. Jack lets it roll off his back and crosses the street. JACK SEES a BOY leave an alley up ahead and walk towards him. Jack clenches his fist, ready for a fight, looking for one, needing one.

JACK That you, Charlie?

No response. The boy gets closer. The clothes are David's. Suddenly Jack grabs the boy by the collar and slams him against the wall; Jack's fist cocked. "THE BOY" IS SARAH in David's cap and jacket. It takes Jack a second to recognize the face. Then he lowers his arm.

JACK What are you doing here?

He rips the hat off her head.

JACK Take that off. (her hair falls free) You're a target, looking like your brother.

SARAH (grabs hat back) You look stupid in that suit.

JACK I like it myself.

An awkward moment. Sarah gets to the point.

SARAH Why did you take the money?

JACK Did he tell you to come here?

SHE glares at him.

JACK It wasn't only the money. I got other garbage hanging over my head...

Sarah waits for more.

JACK They'd'a locked me up again. I hate that place. It reminds me a.... (trails off)

SARAH Your brother? (Jack surprised) David told me.

JACK That's what I hate about families. Nobody keeps their mouth shut.

SARAH You don't have to lie to us.

JACK (intense, aggressive) I ain't lying. I just ain't telling you the truth. I know my brother's dead. I know what's real. (walks away, stops) It's easier sometimes to make up a family then to have a one.

SARAH You do have one.

JACK looks back at her, his emotions raw.

SARAH Talk to David.

She turns and walks away. He watches her go, then follows at a distance, keeping a protective eye on her.

INT. CIRCULATION OFFICE NEXT DAY WEASEL directs OTTO and The DELANCEYS, preparing for the newspapers. JACK sits, brooding.

WEASEL Otto! Run those carts back to the press room. Jack! What're you? King of Siam?

JACK I ain't a stuffer. I came for my money.

WEASEL It's in your pocket.

JACK I got fifty. You owe me more.

WEASEL You get the rest when the strike's over. (leans in close) If it was up to me, you'd be doin' time with Mr. Snyder. You're nothin' but trouble.

JACK And you're my inspiration.

WEASEL chuckles, moves away. OTTO pushes a cart past JACK, speaks under his breath.

OTTO Scab.

Jack's temper explodes. He flies at Otto, knocking him against the wall and pummelling him. Weasel and The DELANCEYS leap to separate them. Weasel shoves Jack towards the door.

OTTO Get outta here!

EXT. WORLD COURTYARD SAME TIME DAY JACK looks through the fence at a number of NEWSIES in the square. Some are arguing, others just stare dejectedly.

DENTON I give them three days before they fold...

JACK turns and sees Denton on the other side of the gates.

DENTON What do you think, Jack?

JACK I stopped thinking, it gives me a headache. (Denton smiles) I heard the bosses come down on you.

DENTON Know why? (Jack shrugs) We scared them. This city is greased with child labor. They need you. Nothing works without you kids. Banks, factories, papers, messengers. Without you they're out of business.

JACK That's enlightenin'. But I'm out of it now.

DENTON You don't have to be. Michael's death wasn't your fault. Don't let them hold that over you.

Jack cuts him a sharp look, turns and walks away.

DENTON You made a bad move. Make a different one! We write our lives on paper; only God uses stone. Jack waves him off and keeps walking.

EXT. DAVID'S APARTMENT NEXT MORNING As DAVID leaves the building see LES sneak out of the apartment window and down the fire escape.

EXT. WORLD COURTYARD DAY WEASEL'S goons take their positions in the convoy.

EXT. NEWSIE SQUARE LATER SAME DAY Another strike gathering of NEWSIES. Smaller this time. Less animated. SPOT, BOOTS, RACE and OTHERS sit around by the statue; bored and depressed...watching. DAVID arrives and sees how dejected they are.

DAVID Hey, come on. Let's get to the gates. We got 'em on the run.

The boys aren't too convinced. THE BELL RINGS OUT. They halfheartedly move out.

DAVID Remember! No violence! Stay with the program!

EXT. ALLEY OFF NEWSIE SQUARE SAME TIME DAY LES watches DAVID lead the NEWSIES toward the opening gates, as a DOZEN COPS take their positions between them and the SCABS. Les moves closer to the action blending in with the other newsies.

EXT. GATES WORLD BUILDING SAME TIME DAY As THE NEWSIES get closer, DAVID recognizes MCSWAIN among the cops. McSwain points out David and other leaders to the CAPTAIN in charge. He in turn gives instructions to his men. The newsies fan out, blocking the way. David looks past the cops and sees JACK with the scabs waiting behind the loaded wagons. David turns to the newsies.

DAVID Everybody down!

The newsies all sit, a peaceful confrontation. PEOPLE on the sidewalk applaud their behavior. That's when the police move. The captain blows his whistle and a POLICE PADDY WAGON pulled by TWO HORSES gallops out of the alley and stops nearby. Then the cops move calmly and purposefully towards the boys and arrest David, Spot, KID DIAMOND and OTHER LEADERS and drag them into the wagon and take them away. LES WATCHES them take David away. The leaderless newsies stand and pull back, disorganized. As the wagons and scabs begin to move out. BOOTS and RACETRACK give orders and the newsies, picking up sticks and stones from the street, split into two groups... flanking the police LES, on his own, is scared but excited. Boots sees him.

BOOTS Go home, Les.

LES No. I'm a newsie.

Boots has no time to argue.

BOOTS Move in!

He tries to restrain Les, but the little boy pulls away and stays with the NEWSIES ... moving to the front of the pack. JACK STARES AT THEM, sickened at the thought of facing the newsies. The WAGON CONVOY and SCABS are halted by the MOB of NEWSIES. Standoff ... with the COPS in between. No one blinks. FACES ON BOTH SIDES look anxiously on. No one wants another battle. SWEATY ADULT HANDS WITH CLUBS. SMALL FISTS WITH ROCKS. LES SEES a SCAB he knows. His jaw tightens with anger. JACK stands with papers, beside a wagon. LES moves toward Jack, breaking the silence with his high-pitched voice:

LES Cowboy!

JACK SEES Les coming toward him. His heart sinks. His pride gone. ALL EYES are glued on little LES as he races across the battle line in a rage, his fists clenched, running at Jack. No one stops him. LES RUNS between the BIGGER BOYS, tears in his eyes, past the COPS' BLUE LEGS and the SCABS ... beside the WAGONS.

LES Traitor!

JACK LOOKS ILL. He drops his papers and prepares for the onslaught of LES.

LES Traitor! I hate you!!

LES runs and leaps at Jack, fists flying, striking out wildly. A startled HORSE rears up beside them.

LES You lied!

JACK Les, don't ...

Les' fist connect with Jack's mouth, drawing blood. Jack grabs Les's flailing arms, trying to control him and not hurt him. But he can't contain Les's fury. Suddenly A FACELESS GOON grabs Les by the collar and flings him back, away from Jack. Too hard. Jack's fist connects with the GOON, knocking him down. Les stumbles backward, falling. His head strikes a WAGON WHEEL, hard; and he crumples. Blood flows from his head. Jack throws himself on his knees beside Les on the cobblestones, staring -

(FLASHBACK) - at his BROTHER dead under another wagon wheel.

EXT. WORLD COURTYARD / PRESENT DAY LES moans. JACK looks around for help, not sure what to do. Everyone stares back, in shock. They are people who have had some sense slammed into them, at awful cost. JACK carefully slides his hands under Les' back, lifts him into his arms, and walks him through the stunned crowd.

EXT. BAXTER STREET LATER SAME DAY JACK carries LES through the streets. He is crying and doesn't seem to notice. PEOPLE stare. Les's blood smears Jack's new clothes.

EXT. NEIGHBORHOOD STREET SAME TIME DAY TWO COPS opend the backdoor of the Paddywagon and let DAVID, SPOT and other LEADERS out, setting them free.

COP to DAVID: We're with you, but ... we can't get involved. David nods. The BOYS walk off as the wagon pulls away.

INT. STAIRWELL / DAVID'S APARTMENT SAME TIME DAY LES is coming to. He looks up at JACK, who still carries him.

LES (mumbling) ... did we get 'em?

JACK Yeah. (swallows) We got 'em.

Jack arrives at the door to David's apartment.

INT. DAVID'S APARTMENT LATER SAME DAY A DOCTOR packs his bag. LES lies in his parents' bed, head bandaged. SARAH holds his hand, looking up at JACK. MAYER and ESTHER are focused on the Doctor.

DOCTOR It's a nasty bump. Keep an eye on him.

MAYER I'm afraid ... we can't pay you now.

DOCTOR (mildly surprised) It's all right. (refers to Jack) Your son already paid me.

Mayer cuts Jack a look as the Doctor leaves.

MAYER Thank you, Jack. I'll repay you.

JACK Forget it.

We hear pounding steps outside; then, DAVID bursts in the door.

DAVID I heard - (sees Jack) What are you doing here?

JACK I was just leavin'.

Jack pushes past David and heads out the door.

EXT. STREET SAME TIME DAY JACK emerges from the building and starts down the street. DAVID calls down from the fire escape.

DAVID Jack! Wait!

JACK, too agitated to wait, walks on, tugging at his collar, ripping it off, tossing it aside. DAVID scrambles down the fire escape, drops to the alley, and runs to catch up.

DAVID Sarah told me what happened. (Jack nods, keeps walking) I didn't mean what I said to you the other day.

JACK Sure you did. And you were right.

DAVID Where you going?

JACK Feed Weasel this stinking suit.

DAVID Then what?

JACK Well - maybe I got no future as a newsie. But I sure as hell ain't cut out to be no scab.

DAVID So what do we do?

JACK I got a plan.

DAVID (joking, sarcastic) You got a plan?

Jack stops. David does too.

JACK That hard to believe?

DAVID No ... just different.

JACK You ain't the only one that can think, Jacobs. (David smiles) You ain't my -

DAVID Ventriloquist?

JACK Same thing. (they smile) They may throw us in jail, Davey, but before they do, we're gonna raise some hell.

DAVID Lead the way.

Friends again, they move on. This time with a purpose.

EXT. NEIGHBORHOOD STREET LATER SAME DAY JACK and DAVID talk to a GROUP of MESSENGERS outside the Western Union office.

JACK And I'll personally give a nickel to every messenger that -

MESSENGER Keep your nickels. We got our own beef with Gould and the company. We'll run it through the wire, see what the boys think.

INT. DENTON'S APARTMENT LATER SAME DAY The tiny room has his photos tacked to the walls. Working in his underwear, DENTON pulls on his robe as he answers a knock on the door. He is shocked to see JACK and DAVID.

JACK Get your pants on, Denty. The newsies is here.

Denton breaks into a broad smile. He embraces the boys, pulling them inside.

INT. DENTON'S APARTMENT LATER DENTON serves JACK and DAVID food and watches, smiling, as the boys spin their plans.

DAVID If the messengers come through, it's a huge story.

JACK Big headlines.

DENTON Sorry I can't write that one.

DAVID But you can.

DENTON Who'll print it?

JACK We'll print it ourselves!

DAVID Can't stop us from making flyers.

JACK And the messengers can deliver 'em.

DENTON That's a great idea. I know a fellow who owns a print shop. If we can pay for the supplies, I can -

Jack pulls a wad of cash from his pocket.

JACK Courtesy of Mr. Pulitzer.

EXT. MESSENGER'S HANGOUT NIGHT DAVID and JACK finish meeting with the MESSENGERS. They shake hands all around. A MESSENGER runs up and gives a messenger's uniform to Jack. Jack holds it up to himself, grins at David.

JACK This oughta hide me pretty good.

INT. CIRCULATION OFFICE - NIGHT WEASEL'S HENCHMEN sit up eagerly as WEASEL enters carrying a large stack of cash. He smiles crookedly.

WEASEL It's payday. He slips a generous portion of cash into his own pocket, then starts to dispense money to his men. He holds up ten dollars.

WEASEL A ten-spot to the man that brings me Cowboy. Spread the word.

INT. PRINT SHOP - EVENING Denton enters a small shop with two old cast-iron presses.

EXT. CITY HALL SHOESHINE STAND NIGHT JACK, wearing his messenger's uniform, confers with MARIO, a bootblack. Mario calls over the other bootblacks to spread the word. Jack sees some SCAB NEWSIES and a POLICE GUARD coming his way. He forces himself to walk past them. No one notices him.

INT. PRINT SHOP NIGHT DAVID checks over the flyer while DENTON and JACK run the presses. The headline reads: "CHILDREN'S STRIKE CRIPPLES CITY."

EXT. PRINT SHOP NIGHT JACK and DAVID meet SPOT and BOOTS, who drive up in an old wagon. Boots jumps down to embrace Jack. They start loading the wagon with bundles of flyers.

EXT. STREET CORNER NIGHT JACK and DAVID toss bundles of flyers from the wagon to waiting MESSENGERS, who disperse. BOOTS turns the empty wagon around. They don't notice THE DELANCEYS following them.

EXT. BANK NIGHT A MESSENGER slides flyers under the door and moves on.

EXT. A FACTORY NIGHT BOOTS and DAVID tack a flyer to the door. EXT. PRINT SHOP NIGHT DAVID, BOOTS and JACK finish loading the wagon with flyers and roll out again. OSCAR DELANCEY watches. MORRIS lumbers off.

INT. WORLD CIRCULATION OFFICE NIGHT MORRIS wakes Weasel, hands him a flyer.

INT. PRINT SHOP NIGHT DENTON works alone, inking a press. The machines are so loud he doesn't hear OTTO, the DELANCEYS and TWO OTHER THUGS enter. One press stops. Denton looks over. The thugs have shut it off. They advance, turn off the other press. The sudden silence is deafening. No one moves. Denton, scared, swallows, starts the press. OTTO shuts it off.

OTTO We're shutting you down.

Denton reaches to start it again, but his hand never reaches the switch. They attack. Denton's defenses are useless against these odds. He goes down. Suddenly MAYER and his TWO NEIGHBORS (previous scene) are in the door, and odds don't seem to matter. DENTON, in a rare display of anger and machismo, grabs OTTO from behind and flings him headlong into a machine. OSCAR looks up to see DENTON'S fist coming at his face. The OTHER THUGS give up or run off. MORRIS backs away drawing a knife. DENTON looks past him to the door.

DENTON Stay out of this, officer!

MORRIS, tricked, turns to see SARAH in the doorway. In that second DENTON is on him, quickly dispatching him with a right.

DENTON I'm tired of people telling me what I can print.

MAYER I can see that.

INT. PRINT SHOP LATER THE SAME NIGHT SARAH helps DENTON run the presses. TWO THUGS, bound and gagged, guarded by the NEIGHBORS, nurse their wounds. On their knees, OTTO and MORRIS clean the shop under MAYER'S supervision. MAYER points to the floor.

MAYER Missed a spot.

OTTO crawls and scrubs the spot clean as JACK and DAVID enter. They stop, trying to fathom the situation. Sarah smiles.

EXT. STREET DAWN The streets are just coming to life with PEOPLE heading to their jobs. SARAH, LES, head bandaged, ESTHER and OTHER GIRLS hand flyers to every child worker.

EXT. BROOKLYN BRIDGE ENTRANCE DAY THE MESSENGERS deliver flyers to SPOT CONLON, KID DIAMOND and OTHER NEWSIES. They spread out to deliver.

INT. AN OFFICE DAY A MESSENGER brings flyers to an office. A BOSS calls to him.

BOSS You! Boy! Run these messages to...

MESSENGER Only messages I'm carryin' is complaints to Hearst and Pulitzer.

He pulls out a flyer, hands it to the stunned Boss.

INT. SWEATSHOP DAY Row upon row of knitting machines stand idle on the huge, dimly-lit shop floor. Adult workers watch, open-mouthed, as a contingent of child workers confronts the stunned Foreman. A tiny GIRL recites the flyer.

GIRL ... and because the newspapers won't give the newsies a fair shake...

EXT. SHOE SHINE STAND DAY The stand OWNER complains to a potential customer.

OWNER How can I fire them? They didn't even show up!

INT. SWEATSHOP DAY GIRL (continuing her speech) ... all the children are striking. Any complaints should be sent to...

INT. BANK DAY A BANKER throws down the flyer, grabs a sheet of paper, writes furiously and hands it to an OFFICE BOY.

BANKER Take this to Pulitzer!

INT. PULITZER'S OUTER OFFICE DAY The office is insane. Two telephones are ringing. The SECRETARIES are inundated by MESSENGERS and OFFICE BOYS. SEITZ walks through as JONATHAN stops an ELDERLY MAN.

JONATHAN Sir, Mr. Pulitzer is unavailable. I'd be happy to take a mess...

The gentleman slams a letter down on the desk and stalks out.

INT. PULITZERIS OFFICE DAY SEITZ enters the quiet inner sanctum. He gives PULITZER a sheaf of messages and a flyer. SEITZ We have a problem, sir.

EXT. NEWSIE SQUARE DAY The square is filling with CHILDREN of all sizes and job descriptions, talking excitedly and waving flyers. TWO NEWSIES puzzle over a flyer.

NEWSIE #1 Whose idea was this?

NEWSIE #2 Who cares? As long as they're with us.

There's commotion down the street. NEWSIES run to it, yelling, "Look who's here!", "I'll be damned!!, "Where'd he come from?"

IN A STREET OFF NEWSIE SQUARE JACK and DAVID in messenger's uniforms and riding bikes lead a CROWD into the square. Behind them are THE MESSENGERS, SPOT, KID DIAMOND, BOOTS, MUSH, MUD, RACETRACK, FACTORY WORKER KIDS, SWEATSHOP KIDS, ADULTS, WOMEN'S GROUPS, LES, DENTON, MAYER, ESTHER, SARAH and THE NEIGHBORS ... with more children joining the parade at every step.

NEWSIE #1 It's Cowboy!

NEWSIE #2 He's a scab. Soak the bastid!

The NEWSIES murmur angrily as Jack and David lead the crowd to the statue. Jack climbs up. David stays below. Sarah and Les watch them from the side.

NEWSIE #3 String him up! He don't deserve a trial!

The newsies cheer. Jack whistles trying to quiet them.

JACK I don't blame you for being sore. I let you down. We all know what I did. I made a mistake. I scabbed. (pauses) And maybe that's hard for you to understand ... me being who I am... but maybe someday you will. I hope.

The newsies murmur amongst themselves.

JACK I'm asking you to forgive me. For losing faith. In us. (Silence.) And whether you do or don't ... whether you like me or not... I'm with you, till the end. 'Cause I'm a newsie. (with fervor) Carryin' the banner!

A quiet crowd. Jack steps down next to David, Sarah and Les. Jack feels very alone waiting for the newsies response. The newsies talk amongst themselves.

NEWSIE (hesitant, unsure) Where'd the flyers come from?

David jumps up onto the statue.

DAVID They were Cowboy's idea! And he paid for them!!

Jack is embarassed by the truth.

DAVID He deserves another chance! (pauses) What do you say?

One by one, the boys start to chant: "Cowboy! Cowboy! Cowboy! Jack finally climbs up next to David and the boys cheer. Jack quiets them.

JACK I brought along some friends to help us kick these greedy bastards in the pants. Newsies, say hello to the working kids of New Yorkl

The WORKING KIDS go wild, cheering for the NEWSIES. NEAR THE WORLD BUILDING MAYOR VAN WYCK bustles toward the World entrance, flyer in hand, staring in horror at the huge crowd of kids.

INT. PULITZER'S OFFICE DAY SEITZ and PULITZER stare down at the NEWSIES. JONATHAN enters, distraught.

JONATHAN J.P. Morgan is calling, air. He's upset. Something about telegrams.

Mayor Van Wyck charges in.

MAYOR How d'you expect me to help you when you bring the whole city crashing down around my ears?

SEITZ We'll got this under control, Mayor.

MAYOR I'm not taking the heat for this. Print whatever you like about me, but I'm pulling my men.

He storms out. Pulitzer slowly sits at his desk. Jonathan screws up his courage, steps closer.

JONATHAN What shall I tell Mr. Morgan?

Pulitzer looks at him, sniffs the air.

PULITZER What's that smell?

Jonathan sniffs, blanches. He.checks his shoes.

JONATHAN (mortified) Oh my, G.. I must have stepped... I usually...The bootblacks are on strike. I'm so sorry, sir...

He backs out the door, walking on the toe of one boot.

INT. PULITZER'S OUTER OFFICES DAY The OFFICE WORKERS are busy dealing with IRATE VISITORS. No one notices JACK and DAVID pass through. They reach the door Just as JONATHAN rushes out of Pulitzer's office. They go right in the open door. Jonathan turns, pursues.

INT. PULITZER'S OFFICE DAY JACK and DAVID move toward PULITZER's desk.

JACK 'Scuse us, gentlemen! We got urgent messages here for Mr. Pulitzer.

JONATHAN Take those boys outsi..

JACK Button it up, pal, or I'll spoil your looks.

JONATHAN is startled. Jack sniffs the air, catching his odor.

JACK Where you been sleeping?

Jonathan blanches. Pulitzer recognizes Jack's voice.

PULITZER Is that the young man who ... ?

JACK Francis Sullivan at your service, sir. This is my friend David Jacobs.

GOULD bursts in, ranting. The boys are momentarily forgotten.

GOULD You're ruining me, Pulitzer! Every one of my messengers is on strike, and it's all because of your damned newsies!

JACK (to Pulitzer) Terrible, ain't it?

GOULD That means no banking, no contracts delivered ... no stock market, no dealings with anyone outside shouting distance! (takes a breath) Settle with them Joseph!

PULITZER NO! I will not allow these infants to run my business!

GOULD If this continues, you won't HAVE a business!

Gould exits, disgusted. Jack tosses the suit to Pulitzer.

JACK You'll want to get this cleaned. There's blood on it.

PULITZER Get them out of here!

SEITZ goes to remove the boys. DAVID steps in front of him, so fierce that he gives Seitz pause.

JACK We're goin'. (to Pulitzer) You don't get dirty, do you?

Pulitzer stands, enraged. JACK smiles, enjoying himself.

JACK That was a nice speech you made 'bout being poor and all.. But I figure you forgot what it's like to need every penny you make, or you couldn'ta done us the way you did. You said I could be like you. I ain't interested.

Jack drops a wad of crumpled dollars in front of Pulitzer.

JACK Here. You'll need this.

The boys start out. Jack comes back, takes a few dollars.

JACK Expenses.

Then Jack struts out and Seitz slams the door closed behind him. Pulitzer rises, goes to the window to squint at the children below. He snaps out the orders.

PULITZER Find Gould. Tell him I will pay for cabs to carry Western Union telegrams. Then call Hearst and get him to split the cost. We're not beaten yet.

Seitz feels it is hopeless but obeys.

EXT. WORLD BUILDING DAY DAVID and JACK leave the building. The NEWSIES wait below, trying to read the result of the meeting in their faces.

INT. PULITZER'S OFFICE DAY PULITZER holds a damp cloth to his eyes. SEITZ enters, grim-faced. He speaks very softly.

SEITZ Hearst says he won't spend another dime on a losing battle.

Pulitzer knows he's beaten.

PULITZER Damn them. (helpless with rage) Damn the newsies!

INT. PRESS ROOM DAY SEITZ walks past the churning presses. The MEN at the chute hold up a full cart while Seitz marches through.

EXT. COURTYARD MOMENTS LATER WEASEL is readying his ADULT GOON SQUAD when SEITZ finds him.

WEASEL When the gates open, clear 'em outta there!

SEITZ Hold it. We're making a deal.

Seitz walks to the gate. Weasel stares after him, first shocked, then angry. Seitz is about to call out to the newsies when Weasel rushes up to him, grabs his arm.

WEASEL You can't make a deal! We're winning!

SEITZ It's over. Get back to work.

The CHILDREN settle to watch the two men. JACK and DAVID push through to the front.

WEASEL I can break 'em! Just let me -

SEITZ I said it's over!

Weasel, defiant, shouts to one of his men.

WEASEL Open the gates!

SEITZ Don't.

The man stands frozen, not knowing whom to obey. Weasel shoves him aside and opens the gates himself. He shouts.

WEASEL Break 'em!

The NEWSIES stir uneasily, some backing away. MAYER and DENTON are just outside the gates, braced for a fight. Jack raises his hand to calm the newsies.

JACK Easy, fellas ...

The goons stand, clubs in hand, uncertain whether to charge. Weasel is almost apoplectic.

WEASEL I said charge!

No one moves. Seitz steps forward.

SEITZ You're fired. I want you off the property, or I'll have you arrested.

The boys cheer. Weasel is beaten. He draws himself erect and walks out of the gates. He is confronted by the solid mass of children. SOMEONE splatters him with an overripe tomato. He starts for the kid. JACK steps in front of him.

JACK I don't think that's such a good idea, Weasel.

The boys are ready to tear him apart.

DAVID Don't touch him! Let him go.

Jack pulls the cudgel out of Weasel's belt.

JACK You won't be needin' this. Weasel doesn't dare protest, surrounded by hostile newsies. Their snickers cut to the heart of his pride. No one steps aside for him.

JACK Where's your manners? Say excuse me.

Weasel has no choice. He faces the nearest newsie. LES. Weasel can barely get the words.out.

WEASEL Excuse me.

LES I can't hear yeh. W

EASEL (grits his teeth) Excuse me.

Les moves. Weasel swallows his rage, faces the next newsie.

WEASEL Excuse me. And so on through the entire crowd of children he once terrified.

EXT. WORLD BUILDING COURTYARD MINUTES LATER Looking down, SEITZ meets with JACK, DAVID, SARAH, LES, DENTON, MAYER, and OTHER NEWSIE LEADERS. He is uncomfortable under the watchful eyes of the children behind him.

SEITZ We can't roll back the prices.

The newsies grumble and boo. Seitz raises his hands.

SEITZ Please! (they quiet) To make up for the hardship this causes you, we will now buy back all the papers you can't sell. You'll never have to take a loss again.

JACK And a guarantee: No price hike for at least two years.

SEITZ I can't -

Jack shrugs, starts to turn away. Seitz quickly reconsiders.

SEITZ A guarantee. Do we have a deal?

JACK Give us a little privacy and we'll think about it.

Seitz respectfully steps aside as the leaders confer.

DAVID If they buy back unsold papes, it'll make up for the higher price, easy. What does Brooklyn say?

SPOT Brooklyn says, go back to work.

KID DIAMOND, RACETRACK and BOOTS nod. It's over: victory's theirs. Jack rocks back on his heels and lets out a wild cowboy whoop. Victory's his.

BOOTS It's a deal.

DAVID We won!

The newsies erupt into cheers. Jack takes Weasel's cudgel and clangs the bell, calling the newsies to work.

JACK Comin' down the chute!

The CROWD goes crazy. The CELEBRATION begins. FAR ABOVE, IN HIS OFFICE, Pulitzer covers his ears at the sound. But the pain of the BELL RINGING and the CHILDREN SINGING is mixed with relief: the strike is over.

EXT. TRAIN TRACKS (PREVIOUS SCENE) NEXT DAY A corner of track runs past a WATER TOWER and into a TUNNEL. DAVID and JACK walk together. Jack, carrying a bag, is leaving town. SARAH and LES follow at a distance.

DAVID You don't have to leave now. Snyder's not chasing you.

JACK I know ... but a man should do what he says he's gonna do. I've been dreamin' about going west for a long time.

DAVID No one's out there for you?

JACK (touched, he lies) Being alone don't scare me. I'll take a look around. Punch me a doggie.

He throws his arms around his friend, his heart full of sadness.

JACK I'll miss you, Davey ...

DAVID I'll miss you too, Jack ...

Les runs ahead of Sarah and catches up to them. Jack pulls out his old dog-eared dime novel and hands it to Les.

JACK Here, kid.

LES Thanks, Cowboy. (takes book) I don't have anything for you.

JACK You came to see me off, didn't you? (Les nods) That counts big with me.

Les smiles. Jack watches him page through the book.

EXT. TRACKS NEAR WATER TOWER LATER SAME DAY DAVID AND LES sit on top of the cinder bank, watching for the train. David looks down at JACK and SARAH ... off aways, talking. JACK AND SARAH SEE David and Les in the background watching from the hill above.

SARAH What if they catch you?

JACK They toss you off and you hop the next one. It ain't bad.

SARAH Les wanted to go with you.

JACK I'd take him...

She knows he is serious in a kiding way.

He feels her eyes on him and looks over at her.

SARAH You're not a cowboy, Jack. You're a city boy. You belong here.

Jack looks away.

SARAH I want you to stay.

Jack and Sarah look at each other. He's torn up, walking away from love. David's voice breaks the moment.

DAVID'S VOICE It's coming!!!

Jack looks quickly up at David, then spins to see the train coming towards him. Then he turns back to Sarah.

JACK Pretty Sarah.

She smiles. David and Les run, sliding down the cinder hill to them as the TRAIN suddenly appears, slowing down for the curved area of track that passes by the water tower. David grabs Jack and pulls him along. Jack turns and yells back to Les.

JACK Take care, brother!! CARRYIN' THE BANNER!

He turns, and runs with David beside the moving train.

LES (shouting) Come back, Cowboy!

OTHER MEN and BOYS appear out of nowhere, hopping the train for a free ride. DAVID and JACK run together next to the train. The train WHISTLE BLDWS.

JACK Sounds like ... the bull's chasing us, Davey!

DAVID I wish ... I could go ... with you!

JACK No you don't ...

Jack backhands David on the arm, good-naturedly. Then he reaches up, grabs a hold of the train and jumps on as it picks up speed and pulls away. David trots to a stop and waves.

DAVID See you Jack!

JACK Bet on it!

Sarah and Les come up behind David as the train pulls away.

INT. TRAIN CAR SAME TIME DAY JACK moves down the aisle of the crowded car and takes a seat. He is barely keeping it together emotionally. Near him sits a well-dressed little GIRL and her MOTHER. The little girl sees something out the window.

GIRL Who are those children, Mother?

Jack looks out the window. HE SEES HUNDREDS of NEWSIES line the embankment, hanging on the water tower. They have come to see Jack off. Jack smiles.

JACK They're newsies, kid.

The little girl and her mother look over at Jack.

EXT. TRAIN TRACK SAME TIME DAY NEWSIES on the top of the hill wave to the train goodbye as DAVID, LES and SARAH watch the train pull away. Then they turn and walk toward us. All look as if they'd lost something special ... which they think they have. Les wipes away tears.

INT. TRAIN SAME TIME DAY JACK puts his head back as he unconsciously plays with the red patch Sarah sewed on his pants. Then he looks down at the red piece of material and touches it. Tenderly. The train PLUNGES into the TUNNEL. An instant ticks by. Then from the darkness we see Jack run, clutching his bag. There's a grin a mile wide on his face as he dashes for the family he will not leave behind.

EXT. TRAIN TRACKS / NEAR WATER TOWER SAME TIME DAVID, SARAH AND LES walk away between the rails, lost in their own private thoughts. Suddenly we hear a WHISTLE. They stop. Then, another WHISTLE.

LES COWBOY!

All three spin and see JACK running towards them. The NEWSIES ABOVE cheer as Jack runs to meet David, Sarah and Les. We see the CITY SKYLINE above the united family. All four walking along the tracks back into the city. HEAR REPRISE OF ONE OF THE SONGS.

END CREDITS ROLL.

THE END

 

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