Chitty Bang Bang JR. Perusal

CHITTY CHITTY BANG BANG

welcome to the theater

C ONGRATULATIONS!

You’ll be working with your creative team and fellow cast members to put on a musical. Before you begin rehearsals , there are some important things you should know.

This book is your script ss Whether putting on a school production or rehearsing a professional show, every actor, director , and stage manager works from a script. Your script contains some additional information like this introduction and a glossary. You can look up any bold words in the glossary at the back of this book. Be sure to take good care of your script, and use a pencil when taking notes in it, since what you’ll be doing onstage can change during rehearsals.

One of the first things you’ll need to learn is what to call the various areas of the stage. Since most stages used to be raked, or tilted down toward the house, where the audience sits, we still use the term downstage to refer to the area closest to the audience and upstage to refer to the area farthest from the audience. Stage left and stage right are from the actor’s perspective when facing the audience. The diagram above shows how to use these terms to label nine different parts of the stage.

what to expect during rehearsals

You will be performing a musical, a type of play that tells a story through songs, dances, and dialogue Because there are so many parts of a musical, most shows have more than one author. The composer writes the music and usually works with a lyricist, who writes the lyrics, or words, to the songs. The book writer writes the dialogue (spoken words, or lines ) and the stage directions , which tell the actors what to do onstage and what music cues to listen for.

Your director will plan rehearsals so that the cast is ready to give its best performance on opening night! Remember to warm up before each rehearsal so that your mind, body, and voice are ready to go. Every rehearsal process is a little bit different, but here is an idea of what you can expect as you begin to work on your show.

music:

Since you’re performing a musical, it is important to learn the music early on in the rehearsal process. Your music director will teach the cast all the songs in the show and tell you what to practice at home.

choreography:

After you’ve got the music down, you’ll begin working on the choreography – or dance – in the show. Your choreographer will create the dances and teach them to the cast. The music and the choreography help tell the story.

blocking & scene work:

Your director will block the show by telling the cast where to stand and how to move around the stage. You’ll use your theater terms (downstage left, upstage right, etc.) a lot during this portion of the rehearsal process. You will also practice speaking your lines and work on memorizing them. Rehearsing your part from memory is called being off-book. Your director will help you understand the important action in each scene so you can make the best choices for your character’s objective, or what your character wants.

make the script your own

Always write your name legibly, either in the space provided on the cover of your script or on the title page. Scripts have a way of getting lost or changing hands during rehearsals!

Mark your lines and lyrics with a bright-colored highlighter to make your part stand out on the page. This will allow you to look up from your script during rehearsals, since it will be easier to find your place when you look back down.

Underline important stage directions, lines, lyrics, and individual words. For example, if your line reads, “Because other people don’t see things the way you do,” and your director wants you to stress the words “other” and “you,” underline those words in your script.

Save time and space by using the following standard abbreviations:

ON: onstage OFF: offstage

US: upstage DS: downstage

SL: stage left SR: stage right

CS: center stage X: cross

You may use these abbreviations to modify other instructions (e.g., you could write “R hand up” to remind yourself to raise your right hand). You may also combine them in various ways (e.g., you could write “XDSR” to remind yourself to cross downstage right).

Draw diagrams to help clarify your blocking. For example, if you are instructed to walk in a circle around a table, you might draw a box to represent the table, then draw a circle around it with an arrow indicating the direction in which you are supposed to walk.

Draw stick figures to help you remember your choreography. Remember, the simpler the better.

Although you should feel free to mark up your script, be careful it doesn’t become so cluttered with notes that you have a hard time finding your lines on the page! 1 2 3 4 5 6 7 8

Mark your music with large commas to remind yourself where to take breaths while singing.

Actor’s Script

Name:

Character:

2

3

JEREMY

The stone, possibly from Stonehenge. (JEREMY holds up a rock.)

POTTS

These are all wonderful things, but I’m afraid other people wouldn’t appreciate them.

Why not, Daddy?

JEMIMA

POTTS

Because other people don’t see things the way you do. Come now, let’s go to sleep. I have to try my luck with my new invention at the Fun Fair.

Can we come?

4

JEMIMA

No, this is work. Now to sleep.

What about the boats?

(

POTTS

JEREMY

#12 – HUSHABYE MOUNTAIN begins.)

HUSHABYE MOUNTAIN

CHITTY CHITTY BANG BANG JR.

some tips for the theater

Don’t upstage yourself. Cheat out so the audience can always see your face and hear your voice.

Always arrive at rehearsal on time and ready to begin.

Keep going! If you forget a line or something unexpected happens, keep the scene moving forward. Chances are, the audience won’t even notice.

It takes an ensemble to make a show; everyone’s part is important.

Be respectful of others at all times. Remember to thank the director and fellow cast and crew members.

If you are having trouble memorizing your lines, try writing them down or speaking them aloud�

Bring your script and a pencil to rehearsal.every

Be specific! Make clear choices about your character’s background and motivation in the show.

Always be quiet backstage. And keep in mind, if you can see the audience, they can see you, so stay out of sight.

Before the show, say “break a leg”– which means “good luck” in the theater.

HAVE FUN!

Chitty Chitty Bang Bang JR. synopsis

Outside the Coggins garage, JEREMY and JEMIMA POTTS engage in a thrilling pretend race atop CHITTY CHITTY BANG BANG, a weathered old racecar (Opening). A JUNKMAN offers to buy Chitty from MR� COGGINS, but Jeremy and Jemima are dismayed when the Junkman explains how he plans to melt Chitty into scrap metal. CARACTACUS POTTS, their father, is considering purchasing the car himself when TRULY SCRUMPTIOUS roars onstage on a motorbike, out of control due to a stuck throttle. Potts fixes her motorcycle, but Truly criticizes him for not putting Jeremy and Jemima in school and insults his candy-making skills. Potts is frustrated, but Jemima and Jeremy reassure him (You Two)

The Potts family returns home to GRANDPA. After bidding them all goodnight and reflecting on his family (Them Three), Grandpa absentmindedly blows into one of the holes on Potts’s “imperfect” candy, making a musical sound. Realizing the candy’s potential, Potts and the children go to LORD SCRUMPTIOUS’s Sweet Factory, where they realize Truly is Lord Scrumptious’s daughter. With Truly’s help, Potts pitches the musical candy to Lord Scrumptious (Toot Sweets)

Meanwhile, in their castle in Vulgaria, the BARON and BARONESS discuss the Baron’s upcoming birthday. For his gift he requests the car that beat the Vulgarians three times in the Grand Prix – Chitty Chitty Bang Bang. They call spies BORIS and GORAN and demand they retrieve the car. Afterward, the Baron and Baroness express their mutual affection (Chu-Chi Face).

At the Potts home, Jeremy and Jemima try to think of ways to raise money for Chitty, but Potts sings them to sleep (Hushabye Mountain). Soon after, Potts attends the lively Fun Fair (Me Ol’ Bamboo), where a man agrees to purchase his haircutting machine for thirty shillings – the exact amount he needs to purchase Chitty. Potts rushes

off in excitement (Me Ol’ Bamboo –Playoff).

Potts restores the car, brings it home, and takes the kids for a ride (Chitty Chitty Bang Bang). Truly joins them along the way (Truly Scrumptious), but their picnic takes a turn for the worse when Boris and Goran reveal they have abducted Grandpa (they’ve mistaken him for Potts). Chitty springs into action (Chitty To The Rescue)

In Vulgaria, VULGARIANS gather in the town square as the Baron and Baroness announce the arrival of Grandpa, who they think is Potts (Vulgarian Town Square). After revealing that children are banned from Vulgaria, the Baron and Baroness hear that Chitty has been seen flying in the city. They demand that Grandpa make their car fly or face certain death (Vulgarian Town Square – Reprise). Meanwhile, Potts, Truly, Jeremy, and Jemima meet the TOYMAKER. He and Potts set off to investigate a secret way into the castle, but while they are gone, the CHILD CATCHER steals Jeremy and Jemima away from Truly. The Toymaker leads Potts to a place where several children have been hiding from the Child Catcher. Truly catches up to them and tells Potts his children have been taken, and the HIDDEN CHILDREN offer to help get them back (Teamwork). At the castle, the Baron and Baroness indulge in the Brazilian theme of the Baron’s birthday party (The Bombie Samba). The Toymaker arrives with a gift – Truly and Potts, disguised as dolls. They sing to the crowd before unleashing the Hidden Children (Doll On A Music Box). Just when the Child Catcher is about to defeat the Hidden Children, Chitty bursts into the room with Grandpa, Jemima, and Jeremy riding along. The car gives the Hidden Children the courage to defeat the Child Catcher, and the Toymaker banishes the Baron and Baroness, repealing Vulgaria’s Suppression of Children Act. Chitty has saved the day (Finale)!

CHITTY CHITTY BANG BANG JR.

Chitty Chitty Bang Bang JR. characters

(in order of appearance)

Jeremy Potts

Jemima Potts

Chitty Chitty Bang Bang

Caractacus Potts

Mr. Coggins

Junkman

Truly Scrumptious Grandpa

Miss Phillips

Chef 1

Chef 2

Chef 3

Lord Scrumptious Baron

Baroness

Boris Goran

Morris Dancers

Fair Announcer

Violet Sid

Turkey Farmer

Soldier 1

Toymaker

Child Catcher

Soldier 2

Toby

Marta

Greta

Ensemble: Workers, Townspeople, Dogs, Soldiers, Star Chorus, Fairgoers, Seagulls, Vulgarians, Hidden Children

SCENE 1: OUTSIDE COGGINS GARAGE

(#1 – OVERTURE begins.)

(#2 – OPENING begins.)

OPENING

(Jemima and Jeremy’s father, CARACTACUS POTTS, enters, followed by the garage owner, MR. COGGINS.)

POTTS

Children, get down.

JEMIMA

Father, we’ve won the Grand Prix!

JEREMY

We beat the Vulgarians—

POTTS

Of course you did. Now get down from there, please.

COGGINS

I told ’em it was okay. Here’s that part you were looking for.

(COGGINS hands POTTS a mysterious-looking part. The JUNKMAN enters.)

JUNKMAN

Coggins, you got any scrap metal to sell?

COGGINS

Nah, business has been slow.

JUNKMAN (indicating CHITTY)

What about that hunk of iron?

COGGINS

Don’t be daft. That was once a great car. Won the Grand Prix three years running. Pride of England.

JUNKMAN

I’ll give you fifteen bob for it.

COGGINS

Make it thirty, and you’ve got a deal.

JEMIMA

Mr. Coggins, you can’t sell Chitty—

JUNKMAN

Course he can. I’ll pick her up Wednesday.

JEREMY

But what are you going to do with her?

JUNKMAN

We’re going to crush her up until she’s one solid piece of metal. Then we’re going to put her in a fiery furnace and melt her down till she’s nothing but liquid iron. That’s what we’re going to do with her.

POTTS

Excuse me sir, you’re scaring my children... (CHITTY begins to shake in fear.) And the car too.

JUNKMAN

I’ll be back on Wednesday— (exiting in disbelief) —scarin’ the car... ?

(The JUNKMAN exits.)

JEMIMA

Please Mr. Coggins, you can’t sell Chitty to that nasty man.

COGGINS

I’m afraid I already have.

JEREMY

I know! Daddy will buy it for us—

POTTS

Thirty shillings?

COGGINS

I’d rather sell her to you, Potts. I’ve always wanted to see the ol’ girl fixed up and back on the road where she belongs.

(COGGINS exits.)

JEREMY, JEMIMA

(looking at POTTS)

Pleeeeeease?

POTTS

Thirty shillings is a lot of money.

(The sound of a motorcycle is heard offstage. TRULY SCRUMPTIOUS enters riding a motorcycle, the throttle stuck wide open.)

TRULY

Ahhh! The throttle!

(TRULY, on the motorcycle, roars across the stage and exits. POTTS, JEMIMA, and JEREMY stare in disbelief. TRULY races across the stage again.)

The throttle – it’s stuck!

(TRULY exits on the motorcycle.)

JEMIMA

Papa, you must do something.

(TRULY races onto the stage again, and POTTS jogs alongside her, turning off the engine. The motorcycle comes to a puttering stop.)

TRULY

Look what you’ve done to my motorbike. I may never get it started now.

POTTS

By the sound of it, you’re in the need of an adjustment to your butterfly valve.

TRULY

I’m fairly certain that I need a new choke pull spring.

JEMIMA

Don’t worry, our Daddy will fix it—

JEREMY

He’s an inventor.

TRULY

Excuse me, but shouldn’t you be in school?

JEMIMA

It’s a holiday.

TRULY

And what holiday would that be?

JEREMY

Eastmas—

JEMIMA

Halfway between Easter and Christmas.

TRULY

(looking at POTTS accusingly)

Eastmas? Now I’m certain your children should be in school.

POTTS (begins to work on the motorcycle)

Allow me... Caractacus Potts at your service.

TRULY

Truly.

POTTS (confused)

Yes, truly allow me—

TRULY

No, Truly, that’s my name.

POTTS

Truly?

Truly.

Hmm.

You are an inventor?

TRULY

POTTS

TRULY

JEREMY

He made this candy only this morning—

(He hands TRULY a piece of candy shaped like a flute.)

TRULY

Is it supposed to have holes in it?

POTTS

No, you see the problem is—

TRULY

The boiling point of your sugar is too high—

POTTS

An expert on candy making are we?

TRULY

Your children really ought to be in school.

POTTS

Oh! An expert in child welfare as well. Give it a try—

TRULY

(indicating the motorcycle)

I was only trying to—

(TRULY kick-starts the motorcycle, and the engine putters.)

POTTS

Butterfly valve – told you so – have a good day, truly.

TRULY

(driving away)

I’m quite certain it was the choke pull spring – good day to you too, Mr. Crackpotts—

POTTS

It’s Caractacus!

TRULY

Your children should be in school – truly.

(TRULY exits.)

POTTS

Vicious, interfering, confounded woman.

(#3 – YOU TWO begins.)

YOU TWO

SCENE 2: POTTS WINDMILL HOUSE

(During the song, POTTS, JEREMY, and JEMIMA transition to their windmill home. GRANDPA enters.)

JEREMY, JEMIMA

Good evening, Grandpa!

GRANDPA

Attention!

(POTTS, JEREMY, and JEMIMA stand at attention.)

JEREMY, JEMIMA, POTTS

Attention!

GRANDPA

As you were. I got up this morning and I shot an elephant in my pajamas. How an elephant got—

JEREMY, JEMIMA, POTTS

—into my pajamas I shall never know.

GRANDPA

You’ve heard it before.

Absolutely not. First time.

POTTS

GRANDPA

So my boy, how’s the sweet-making machine coming along?

POTTS

Well, it’s very nearly perfectly perfected. (POTTS hands GRANDPA the candy with the holes in it.)

GRANDPA

Is it supposed to have all these holes in it?

POTTS

No, that’s the imperfect part.

GRANDPA

Boiling point of the sugar’s too high—

POTTS

So I’ve been told.

JEMIMA

Grandpa, Mr. Coggins is going to sell Chitty—

JEREMY

To the junkman.

JEMIMA

And he’s going to melt her down for scrap.

GRANDPA

Melt the world famous Chitty Chitty Bang Bang? Poppycock!

JEREMY

He said we could have it—

JEMIMA

For just thirty shillings!

GRANDPA

Thirty shillings is a lot of money.

POTTS

Why don’t you kids run up and get ready for bed.

JEREMY, JEMIMA Awww—

POTTS

Move along now—

GRANDPA

Good night, God Bless, don’t let the bugs undress. (JEREMY and JEMIMA exit.)

POTTS

Thirty shillings. How on earth am I supposed to find thirty shillings?

GRANDPA

I haven’t the foggiest. Still they don’t ask for much, do they?

POTTS

That’s because they don’t get much.

GRANDPA

Ah well. Nothing’s impossible. Mark my words, one day one of these inventions of yours is going to work.

POTTS

You think so?

GRANDPA

Almost entirely certainly.

POTTS

Thanks Grandpa – and good night.

(

#4 – THEM THREE begins.)

THEM THREE

(GRANDPA)

Well, Blimey O’Reilly, he’s invented something that works! Caractacus, Caractacus my boy!

SCENE 3: LORD SCRUMPTIOUS’S SWEET FACTORY

(#5 – TO THE SWEET FACTORY begins.)

TO THE SWEET FACTORY

Excuse me?

POTTS

MISS PHILLIPS

There are no vacancies. Goodbye.

POTTS

But, I’ve invented a sweet, so if you would please inform Lord Scrumptious—

MISS PHILLIPS

Appointments are scheduled on the third Monday of every month. You’re welcome to schedule an appointment to schedule an appointment, but not until next Thursday when appointments for appointments are scheduled.

POTTS

How on earth does anything get done around here?

MISS PHILLIPS

By appointment.

(TRULY enters.)

Morning Phillips.

Good morning, Miss.

(to CHEF 3)

TRULY

MISS PHILLIPS

Please inform Lord Scrumptious that his daughter has arrived.

POTTS

(realizing)

You’re Truly Scrumptious?

TRULY

So I’ve been told. What brings you here today, Mr. Potts?

JEREMY

Daddy’s invented this!

(JEREMY hands TRULY one of the flute candies.)

TRULY

Yes, it’s the boiling point of the sugar that causes these unfortunate holes—

POTTS

It just so happens, that those holes are deliberately placed and precisely arranged—

TRULY

They are, are they?

POTTS

Oh, yes. Absolutely! Listen—

(#6 – LISTEN begins. POTTS blows on one of the sweets. JEREMY and JEMIMA blow and add a note, forming a chord. TRULY blows through the sweet, creating a melodic note and completing the chord. She giggles in spite of herself. LORD SCRUMPTIOUS enters.)

LORD SCRUMPTIOUS

Good morning, Truly.

TRULY

Daddy, this is Mr. Potts and he’s invented something.

LORD SCRUMPTIOUS

I’m hoping it’s not a sweet.

TRULY

Daddy, please.

LORD SCRUMPTIOUS

Very well, you have exactly twenty seconds.

(LORD SCRUMPTIOUS removes a pocket watch and tracks the time.)

POTTS

Thank you. Well sir, the fundamental novelty of this particular brand of confectionery is its musical quality—

LORD SCRUMPTIOUS Ten seconds—

POTTS

By placing one’s fingers over the holes.

LORD SCRUMPTIOUS Five— POTTS

And blowing thusly—

LORD SCRUMPTIOUS (before POTTS can blow into the candy) Too late! Goodbye Mr. Potts.

TRULY

Daddy, listen. Go ahead, Mr. Potts.

(#7 – TOOT SWEETS begins.)

TOOT SWEETS

(After applause, #8 – DOGS BARKING begins. DOGS are heard barking offstage.)

MISS PHILLIPS Dogs!!!

LORD SCRUMPTIOUS Dogs???

POTTS

It’s the sweets! The whistles must have called them!

(#9 – BARON AND BARONESS SCENE CHANGE begins. DOGS of all shapes and sizes run onstage, causing the CHEFS, LORD SCRUMPTIOUS, POTTS, TRULY, JEMIMA, and JEREMY to scatter offstage.)

SCENE 4: BARON AND BARONESS’S CASTLE

(Inside the war room in the castle. The room is guarded by many very serious-looking SOLDIERS.)

BARONESS

I know a naughty little Baron who has a chu-chi-woo-chi birthday coming up—

BARON

You mean, me! Baron Bomburst ruler supreme of all Vulgaria?

BARONESS

Vhat shall the Baroness give my little bombi-oo-chi-wootchi?

BARON

I vant that car. The one that defeated us in the Grand Prix. Three times!

BARONESS

But that was years ago—

BARON

I vant it, I vant it, I vant it!

BARONESS

Then you must have it my little teddy bear. Call the spies—

BARON

The spies!

(The BARON picks up a telephone. The spies BORIS and GORAN appear on the opposite side of the stage. A phone rings.)

BORIS

It’s the phone!

The spy phone!

BORIS, GORAN

(answering the phone)

Hello?

Hello, is this... you?

This is us... is this... you?

BORIS

BARON

BORIS

BARON

Of course it’s me, who else would it be?

BARONESS

Give me the phone. (taking the phone)

Is this Boris, the spy?

BORIS

Yes, this is Boris the spy – I mean – what’s the password?

BARONESS

The password is, I vill have you hung upside down by your pinkie toes unless you speak to me now.

BORIS

That works, how can I help you?

BARONESS

Boris darling, we vant the car.

BARON (into the phone)

The one that wins the Grand Prix—

BORIS

But it crashed and burned; nobody knows what happened to it.

BARONESS

It’s in England at a place called Coggins Garage. I vant that car brought to Vulgaria in time for the Baron’s birthday celebration. Find it or else.

(The BARONESS slams the phone onto its cradle.)

BARON

You know vhat you are to me, don’t you my darling?

BARONESS

Remind me.

(#10 – CHU-CHI FACE begins.)

CHU-CHI FACE

(#11 – POST CHU-CHI begins. The BARON and BARONESS exit followed by the SOLDIERS.)

SCENE 5: POTTS FAMILY WINDMILL

(JEREMY and JEMIMA are in their beds. POTTS is tucking them in for the night.)

JEREMY

We know how to raise the money for the car—

JEMIMA

We can sell our treasures.

JEREMY

Look! King Alfred’s crown—

(JEREMY holds up a paper crown.)

JEMIMA

The nail from Noah’s Ark.

(JEMIMA holds up an ordinary nail.)

JEREMY

The stone, possibly from Stonehenge.

(JEREMY holds up a rock.)

POTTS

These are all wonderful things, but I’m afraid other people wouldn’t appreciate them.

JEMIMA

Why not, Daddy?

POTTS

Because other people don’t see things the way you do. Come now, let’s go to sleep. I have to try my luck with my new invention at the Fun Fair.

JEMIMA

Can we come?

POTTS

No, this is work. Now to sleep.

JEREMY

What about the boats?

(#12 – HUSHABYE MOUNTAIN begins.)

HUSHABYE MOUNTAIN

SCENE 6: FUN FAIR

(#13 – ME OL’ BAMBOO begins.)

ME OL’ BAMBOO

(The number ends as a TURKEY FARMER enters with excitement.)

TURKEY FARMER

You there, Potts the inventor! Did you invent that hair-cutting machine?

POTTS

No.

TURKEY FARMER

That’s a shame, because I want to buy it.

POTTS

I meant no in the sense of... yes.

TURKEY FARMER

What do you want for it?

Thirty shillings.

Done.

POTTS

TURKEY FARMER

(They shake hands.)

POTTS

I should warn you, it’s still in the experimental stage.

TURKEY FARMER

I don’t want it for cutting hair, I want it for plucking turkeys.

POTTS

Plucking turkeys?

TURKEY FARMER

Yes. I’m a turkey farmer. And with your machine I can pluck ’em and cook ’em all in one go. There you are, thirty shillings. And I call it a bargain.

(TURKEY FARMER hands POTTS the money.)

POTTS

And I’d call it a miracle. One car! Coming up! Yahooo!

(#14 – ME OL’ BAMBOO (PLAYOFF) begins.)

ME OL’ BAMBOO (PLAYOFF)

SCENE 7: COGGINS GARARGE

BORIS

(whispering)

Here we are, Coggins Garage.

GORAN

(yelling)

Now all ve need to do is—

BORIS

Quiet—

(speaking too softly)

All ve need to do—

GORAN

BORIS

Vell, now I can’t hear you – a bit louder—

GORAN

(adjusting his volume comically)

All ve... All ve... All ve—

That’s good—

BORIS

GORAN

All ve need to do now is purchase that car.

BORIS

Ve should vait until the sun rises. The British are very particular about protocol.

(POTTS enters excitedly.)

POTTS

Mr. Coggins! Mr. Coggins! Wake up Mr. Coggins!

BORIS

Hide!

(BORIS and GORAN hide.)

COGGINS

Potts is that you? What time is it?

POTTS

Has the junkman been by yet?

COGGINS

I should say not. He’ll be here around tea time.

POTTS

So there’s still time?

Time for what?

COGGINS

POTTS

Mr. Coggins, I want to buy that car. And I’m going to bring ’er back to her former glory!

COGGINS

Why didn’t you say so! Come on in my boy! I’ll put on some coffee. We’ve got a car to restore!

(POTTS exits into Coggins Garage with excitement. BORIS and GORAN step forward.)

BORIS

And ve vere so very close!

(

#15 – CHITTY REVEALED begins. BORIS and GORAN exit dejectedly.)

SCENE 8: OUTSIDE THE POTTS WINDMILL HOUSE

(GRANDPA, JEREMY, and JEMIMA enter. POTTS sounds CHITTY’s horn from offstage.)

JEREMY

Look! It’s Daddy!

What’s that?

Behold!

JEMIMA

POTTS

(POTTS enters driving a perfectly restored CHITTY.)

JEREMY, JEMIMA

Wow, Daddy! Wow!

So ya fixed ’er?

GRANDPA

POTTS

Fixed it, fashioned it, primed it, polished it! And all in full working order. Look— (POTTS presses a button.)

Headlights!

(CHITTY indicates a stubborn “no.”)

GRANDPA

Nothing.

Headlights?

POTTS

(POTTS presses the button again, and CHITTY again indicates “no.”)

GRANDPA

More nothing.

JEMIMA

Daddy, she prefers if you ask nicely—

POTTS

That’s right! Headlights, please?

(CHITTY’s headlights shine brightly.)

JEREMY

Can we go for a drive?

POTTS

How about a drive and a picnic by the seaside?

JEREMY, JEMIMA

A picnic?! Hooray!

GRANDPA

Start her up, son – see if she goes.

JEREMY, JEMIMA

Please?!

(The engine starts as CHITTY speaks in rhythm.)

CHITTY

CHITTY CHITTY CHITTY CHITTY

CHITTY CHITTY CHITTY CHITTY

GRANDPA

Well, whattaya know! A miracle of modern mechanics. Not surprised really, considering you learned it all from me, Caractacus Potts—

(GRANDPA salutes.)

Regimental genius.

(POTTS, GRANDPA, JEREMY, and JEMIMA study the car while BORIS and GORAN enter, hiding behind bushes that they carry onstage.)

BORIS

Regimental genius! So that’s him, the mechanical genius, the inventor of the car!

GORAN

Vich one?

BORIS

The old one, behind the car. Ve vill kidnap him and bring him back to Vulgaria!

GORAN

Vhat about the car?

BORIS

He can build the Baron and Baroness a whole fleet of cars!

GORAN

Boris, you are a genius.

BORIS

Goran, don’t beat about zee bush. Get it? It’s funny because ve are hiding in zee bushes. Oh, never mind. Come, ve must plot.

(BORIS and GORAN exit.)

GRANDPA

What’s this thing here?

POTTS

That’s the muffler and I wouldn’t—

(CHITTY backfires, throwing soot directly into GRANDPA’s face.)

GRANDPA

Motor cars, all a bit modern for me. Nasty, smelly, scary things. (CHITTY backfires again, throwing more soot at GRANDPA.)

All right, all right – if you need me I’ll be home. It’s quieter there.

(GRANDPA exits.)

Climb in everyone!

(

POTTS

#16 – CHITTY CHITTY BANG BANG begins.)

CHITTY CHITTY BANG BANG

(

#17 – VULGARIAN VISION begins.)

SCENE 9: THE WAR ROOM IN VULGARIA

(The war room in the Baroness and Baron’s castle in Vulgaria. A phone rings.)

BARONESS

(answering the phone)

Vulgaria, top secret war room, how may I help you? Oh, it’s Boris—

(The BARON takes the phone.)

BARON

Vhat’s that you say? You’ve located the car’s inventor?

BARONESS

Bring him to us!

(into the phone)

Bring him to us—

And the car?

(into the phone)

BARON

BARONESS

BARON

And the car? You say, the car is by the seaside?

We’ll send a warship.

BARONESS

BARON

(into the phone accidentally)

My chu-chi face would send a big ol’ warship all the way to England just to get me the best birthday present ever?

BARONESS

Chu-chi-woot-chi-oo-chi.

BARON, BARONESS

(ad-libs in baby talk)

Chu-chi-oo-chi-woot-chi-oo-chi—

BARON

(responding to BORIS, who is still on the phone)

Vhat? No! That’s not code. Stay right there, we’re sending a warship. Goodbye.

(#18 – BY THE SEASHORE begins. The BARON hangs up the phone. The BARON and BARONESS exit.)

SCENE 10: BY THE SEASHORE

(The picnic is just concluding. The surf gently breaks on the shore while SEAGULLS fly about.)

TRULY

Any more for anyone?

JEREMY

We’re full up. It was a lovely picnic though.

JEMIMA

Really lovely.

Truly scrumptious.

JEREMY

(JEREMY and JEMIMA giggle.)

POTTS

Children—

JEREMY

We’re not giggling because it’s a silly name, we think Truly is a lovely name.

TRULY

Oh, you haven’t met my sisters, Madly and Deeply.

POTTS

Seriously?

No, he’s my brother.

TRULY

(#19 – TRULY SCRUMPTIOUS begins.)

TRULY SCRUMPTIOUS

(The surf has now surrounded CHITTY, signifying that the tide has come in.)

(TRULY)

You know Mr. Potts, you have two wonderful children.

POTTS

I have to agree with you there.

(#20 – THUNDER begins. There is a sudden and loud clap of thunder.)

JEREMY, JEMIMA

Ahh!

POTTS

It’s alright children, it’s only thunder.

TRULY

It’s only a little storm.

POTTS

Right, let’s get out of here swiftish.

JEREMY

Daddy! The tide, it’s come in.

We’re surrounded by water.

(

#21 – CHITTY TO THE RESCUE begins.)

CHITTY TO THE RESCUE

(#22 – TO VULGARIA begins.)

SCENE 11: VULGARIA

(#23 – VULGARIAN TOWN SQUARE begins.)

VULGARIAN TOWN SQUARE

BARON

Ladies and Gentlemen. Fellow Vulgarians. The entire Vulgarian nation wishes to welcome the brilliant Caractacus Potts, inventor extraordinaire.

(BORIS and GORAN enter with GRANDPA.)

GRANDPA

Hello! Hello! Ah... I think there’s been a bit of a...

BARON

Vhy, even now he is working on a car that floats on water.

GRANDPA

... a bit of a mistake.

BARON

Vhich he is now going to develop for Vulgaria and its greater... Vhat do you mean a mistake?

GRANDPA

I’m not Caractacus Potts. I mean I am Caractacus Potts, but I’m not the inventor.

BARON

Shoot him.

GRANDPA

Not the inventor, to turn down a challenge such as this.

BARONESS

You must meet the toy maker.

BARON

He is called the Toymaker.

BARONESS

A fellow genius like yourself.

BARON

Vulgaria makes the most beautiful toys in the world.

GRANDPA

How lovely for the children.

(The VULGARIANS shriek in horror. The BARONESS faints.)

BARON

Professor Potts, you will never use that word in front of my wife again.

GRANDPA

What word? Children?

(The VULGARIANS shriek again in horror, waking the BARONESS.)

BARONESS

That’s the word! Those creatures are banned from this kingdom by act of parliament.

BARON

And we have a Child Catcher who controls the streets and gets rid of them.

(SOLDIER 1 enters.)

SOLDIER 1

Baron Bomburst! Our observatory has seen a car flying across the border.

BARON

Flying? The car flies? Vhy didn’t you tell me? You naughty boy. Very well, if you can fit my car with your float-fly feature, I vill make you keeper of the Vulgarian purse.

BARONESS

If not, we vill make you into a sausage.

BARON

You have twenty-four hours.

BARONESS

Good day. Sing!

(#24 – VULGARIAN TOWN SQUARE (REPRISE) begins.)

VULGARIAN TOWN SQUARE (REPRISE)

(#25 – INTO TOYSHOP begins. The VULGARIANS exit.)

SCENE 12: THE STREETS OF VULGARIA

(POTTS, TRULY, JEREMY, and JEMIMA enter. The TOYMAKER spots them.)

TOYMAKER

Quick, get those children inside before the Child Catcher gets here.

TRULY

Who are you?

TOYMAKER

The Toymaker. Now get inside, please don’t argue. He’s coming!

(#26 – CHILD CATCHER’S ENTRANCE begins. POTTS, TRULY, JEREMY, and JEMIMA enter the Toymaker’s shop and hide. The CHILD CATCHER enters.)

CHILD CATCHER

There are children in here. I can smell them.

TOYMAKER

Children in a toy shop? Don’t be absurd.

CHILD CATCHER

My nose is never wrong. I can smell their blood and when I find them you will have made your last toy.

(SOLDIER 1 and SOLDIER 2 enter.)

SOLDIER 1

We’ve found the car – hidden under the bridge.

SOLDIER 2

The Baron wants you back at the castle immediately.

CHILD CATCHER

My nose must have been mistaken. There are no children here. (The CHILD CATCHER and SOLDIERS exit.)

TOYMAKER

Sir, madam, I don’t know who you are or what you’re doing here, but take my advice and get out of Vulgaria.

POTTS

My father has been kidnapped by the Baron and Baroness. We came to get him out and that’s what we’re going to do. Please show us the way to the castle.

TOYMAKER

If I don’t finish this toy for the Baron’s birthday tomorrow he’ll have me shot.

POTTS

All right, I’ll go myself. Truly, you stay here with Jeremy and Jemima.

TOYMAKER

No, listen. There is a way, a secret way. It’s past the hidden children.

TRULY

Children?

TOYMAKER

Those we have managed to hide. They’re in the sewers under the castle.

POTTS

Take me there.

TOYMAKER (to TRULY)

You’ll be safe as long as you stay in my shop. The Child Catcher has been here already, he’ll be looking elsewhere.

TRULY

Promise me you’ll be careful.

TOYMAKER

Let’s go—

(POTTS and the TOYMAKER exit. TRULY, JEMIMA, and JEREMY look around the shop. Eventually, JEMIMA speaks.)

JEMIMA

I’m hungry.

JEREMY

I’m so hungry my tummy hurts.

TRULY

Alright, he said you’ll be safe inside. I’ll go and get some food. Lock the door behind me and stay inside until I get back.

(#27 – THE CAPTURE begins. TRULY exits. The CHILD CATCHER enters.)

CHILD CATCHER

Lollipops, cherry pie, cream puffs, ice cream! All free!

(JEREMY crosses towards the door.)

TRULY

Jeremy, no—

Treacle tarts—

Treacle tarts?

And ice cream—

CHILD CATCHER

JEREMY

JEMIMA

JEREMY

All for free!

(JEREMY and JEMIMA unlock the door. The CHILD CATCHER captures them in his net.)

CHILD CATCHER

Come along kiddie-winkies!

(TRULY enters and sees JEREMY and JEMIMA being taken away.)

Truly!

Help!

Children! No!

JEMIMA

JEREMY

TRULY

(TRULY exits as the HIDDEN CHILDREN enter.)

SCENE 13: UNDERNEATH THE CASTLE

(POTTS is surrounded by the HIDDEN CHILDREN.)

TOYMAKER

These are our children. The ones we’ve been able to hide.

(A few HIDDEN CHILDREN rush into the room with leftover food from a banquet in the castle.)

CHILDREN

Food! Food! Food!

TOYMAKER

They run up the drains and steal what food they can from the kitchens.

TOBY

Excuse me, Mr. Toymaker. Have you got any toys?

TOYMAKER

No toys this time, Toby. I’ve been too busy. It’s the Baron’s birthday. But listen, that means there’ll be lots of leftovers.

MARTA

Someone’s coming!

(The HIDDEN CHILDREN hide as TRULY enters.)

POTTS

Truly! What happened? Where are the children... ?

TRULY

They’ve been taken—

What?!

POTTS

TRULY

By that horrible creature, the Child Catcher. He tricked them—

POTTS

Where are they?

TOYMAKER

They’ll be in the castle by now.

TRULY

What are we going to do?

POTTS

We’re all going to break into the castle.

TOYMAKER

That’s impossible, the children will be caught.

POTTS

Yes, totally impossible if we carry on like this. (#28 – TEAMWORK begins.)

TEAMWORK

(#29 – TEAMWORK (PLAYOFF) begins. The HIDDEN CHILDREN, TOYMAKER, POTTS, and TRULY exit as if going into battle.)

SCENE 14: THE CASTLE

(The BARON and BARONESS enter.)

BARON

Strudel, you must tell me, vhat’s the theme for this year’s party?

BARONESS

Tonight you vill be spirited away to the booming, bouncing beaches of Brazil.

BARON Brazil?

BARONESS

It’s all the rage. I’ve made all the Vulgarians learn to Samba.

BARON

What’s a Samba?

BARONESS

I thought you’d never ask—

(#30 – THE BOMBIE SAMBA begins.)

THE BOMBIE SAMBA

BARON

Oh my strudel that was beautiful! Vonderful! And tantalizing! Vhere’s my toy?

BARONESS

Summon the Toymaker!

Summon the Toymaker!

Summon the Toymaker!

BORIS

GORAN

(#31 – FANFARE begins. A fanfare plays as the TOYMAKER enters.)

TOYMAKER

This year, Your Excellency, I have surpassed myself. I have been working night and day, perfecting every little detail to bring you this!

(Two large boxes are placed onstage. The first box is opened to reveal TRULY dressed to look like a doll.)

BARON

A doll? A doll? I have hundreds of dolls. Take it away!

TOYMAKER

But… this is no ordinary doll, Your Excellency. Watch very carefully.

(#32 – DOLL ON A MUSIC BOX begins.)

DOLL ON A MUSIC BOX

BARON

Look at those two. My best birthday ever! Thank you my little tinkle tart.

Bring on the cake!

BARONESS

BARON

I get the first piece! I get the first piece! Give me vhat I jolly well deserve!

POTTS

Oh, we’ll give you what you deserve alright... children!

(#33 – FIGHT begins. The HIDDEN CHILDREN appear screaming from all directions. The HIDDEN CHILDREN have the adults cowering in fear when suddenly, the CHILD CATCHER appears.)

CHILD CATCHER

Hello, kiddy widdy winkies.

(The HIDDEN CHILDREN react in horror as the CHILD CATCHER backs the HIDDEN CHILDREN towards the audience.)

I’ll get you! I’ll get all of you. (now referring to the audience) And all of you out there as well! I’ll come to you when you’re sleeping and I’ll catch you! I will! I will! I—

(Suddenly, a fanfare is heard… then a familiar double backfire. There are two blinding lights as CHITTY enters with GRANDPA at the wheel and JEREMY and JEMIMA in the backseat.)

GRANDPA

Come on you sausage eaters, let’s be having you!

(The CHILD CATCHER turns to look at CHITTY coming right at him. He is mesmerized, and then the HIDDEN CHILDREN capture the CHILD CATCHER in a net and begin to drag him offstage. THE CHILD CATCHER is taken offstage. The HIDDEN CHILDREN cheer.)

HIDDEN CHILDREN Hooray!

JEREMY,

JEMIMA

Daddy, Truly!

Chitty saved us!

JEMIMA

GRANDPA

That car burst right into my cell. Didn’t you?

CHITTY

(spoken in rhythm)

CHITTY CHITTY BANG BANG!

TOYMAKER

(to the BARON and BARONESS)

You two are henceforth banished!

(The BARON and BARONESS are escorted offstage by SOLDIERS.)

BARONESS

(as she is taken offstage)

You can’t banish me, I’m on the stamps.

TOYMAKER

I hereby decree, the Suppression of Children Act is now repealed!

VULGARIANS

Hooray!

(The VULGARIANS run to their CHILDREN, forming family units.)

POTTS

All right Chitty, it’s time to go home.

TRULY

That sounds—

JEREMY, JEMIMA Scrumptious?

GRANDPA

Truly!

POTTS

Okay Chitty, fire up the engine.

JEREMY, JEMIMA

Pleeeeease?

(#34 – FINALE begins.)

(#35 – BOWS begins.)

(#36 – EXIT MUSIC begins.)

THE END

Words to Know From Chitty Chitty Bang Bang JR.

Asunder – into pieces; broken apart

Beguiling – charming; enchanting

Bob – a British slang term for money; a shilling

Bonbon – a type of candy usually coated in chocolate

Confection – a sweet dish or delicacy; candy

Conquistador – a Spanish conqueror (especially one from the sixteenth century)

Daft – silly or foolish

Dilapidated – in bad condition from age or neglect

Divine – to discover by insight or intuition

Fantasmagorical – fantastic; amazing; magical

Fendered – when a vehicle is protected by metal guards over each wheel

Fife – a small, shrill flute

Fundamental – of central importance

Gaff – a pole with a hook or a spear used for catching fish

Grand Prix – an important automobile racing event in which the participants compete for a prize

Innovation – a new method, device or technique

Intrinsic – essential to the nature of something

Lusciously – in a manner that is appealing to one’s sense of taste or smell

Muffler – part of a vehicle’s exhaust system

Oracle – a person or thing regarded as an authority or guide on something

Parfait – a dessert consisting of ice cream, fruit, syrup, whipped cream, nuts, etc.

Parliament – a group of people responsible for making laws in some governments

Poppycock – nonsense

Presumptuous – too confident, especially in a way that is rude

Protocol – conduct or procedures to be followed in formal situations

Punting – crossing a body of water in a flat-bottomed boat using a pole to propel forward

Quarterstaff – a long staff used as a weapon

Quay – a platform made of stone, concrete, or metal at the edge of a body of water used for loading and unloading ships

Regimental – strict; disciplined

Repealed – revoked; reversed

Rhumba – a rhythmic dance that originated in Cuba

Ruddy – red or reddish

Shilling – a former British coin worth 1/20 of a pound

Spiffing – excellent or splendid

Thames – a river that flows through southern England

Throttle – a device that controls the flow of fuel to an engine

Treacle tarts – a pastry dessert

Uncategorical – defying classification; indefinite

Vernacular – everyday language, including slang

glossary

actor: A person who performs as a character in a play or musical.

author: A writer of a play or musical, also known as a playwright. A musical’s authors include the book writer, a composer, and a lyricist.

blocking: The actors’ movement in a play or musical, not including the choreography. The director usually assigns blocking during rehearsals.

book writer: One of the authors of a musical. The book writer writes the lines (dialogue) and the stage directions. Also called the librettist.

cast: The performers in a show.

cheating out: Turning oneself slightly toward the house when performing so the audience may better see one’s face and hear one’s lines.

choreographer: A person who creates and teaches the dance numbers in a musical.

composer: A person who writes music for a musical.

creative team: The author(s), director, choreographer, music director, and designers for a play or musical.

cross: When an actor onstage moves toward or away from another actor or object.

dialogue: A conversation between two or more characters.

director: A person who provides the artistic vision, coordinates the creative elements, and stages the play.

downstage: The portion of the stage closest to the audience. The opposite of upstage.

house: The area of the theater where the audience sits to watch the show.

house left: The left side of the theater from the audience’s perspective. If something is located “house left,” it is to the left side of the audience as they are seated in the theater.

house right: The right side of the theater from the audience’s perspective. If something is located “house right,” it is to the right side of the audience as they are seated in the theater.

lines: The dialogue spoken by the actors.

lyricist: A person who writes the lyrics of a musical. The lyricist works with a composer to create songs.

lyrics: The words of a song.

monologue: A dramatic speech by one actor. music director: A person who is in charge of teaching the songs to the cast and orchestra and maintaining the quality of the performed score. musical: A play with songs that are used to tell a story.

off-book: The actor’s ability to perform his or her memorized lines without holding the script.

offstage: Any area out of view of the audience. Also called backstage. onstage: Anything on the stage and within view of the audience is said to be onstage.

opening night: The first official performance of a production, after which the show is frozen, meaning no further changes are made, and reviews may be published.

play: A type of dramatic writing meant to be performed live on a stage. A musical is one kind of play.

protagonist: The main character in a musical. The action centers around this character.

raked stage: A stage which is raised slightly upstage so that it slants towards the audience.

rehearsal: A meeting during which the cast learns and practices the show.

script: 1) The written words that make up a show, including spoken words, stage directions, and lyrics. 2) The book that contains those words. speed-through: To speak through the dialogue of a scene as quickly as possible. A speed-through rehearsal helps actors memorize their lines, and it infuses energy into the pacing of a scene.

stage directions: Words in the script that describe the actions of the characters.

stage left: The left side of the stage, from the actor’s perspective. The same side of the theater as house right.

stage manager: A person who is responsible for keeping all rehearsals and performances on schedule.

stage right: The right side of the stage, from the actor’s perspective. The same side of the theater as house left.

upstage: The part of the stage farthest from the audience. The opposite of downstage.

warm-ups: Exercises at the beginning of a rehearsal or before a performance that prepare actors’ voices and bodies.

Actor’s Script Credits

Contributing Editors

Dee Beider

Chris Fuller

Marianne Phelps

Cara Schuster

Designers

Kevin Johnson

Steven G. Kennedy

Music Layout

Daniel J. Mertzlufft

Rob Rokicki

Music Supervisor

Lindsay Lupi

Associate Editor

Laura Jo Schuster

Senior Managing Editor

Susan Fuller

The Broadway Junior™ Concept and Format

Created by Music Theatre International (MTI)

Adaptation and support materials developed for MTI by iTheatrics under the supervision of Timothy Allen McDonald.

See MTI’s complete line of Broadway Junior™ musicals at broadwayjr.com

MTI’s School Edition and full-length musicals may be found at MTIShows.com