My Son Pinocchio JR. Perusal.

J My S R . on Pinocchio JR. welcome to the theater

C ONGRATULATIONS!

Disne y ’s MY SON PINOCCHIO

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. Whether putting on a school production or rehearsing a professional show, every actor, director and stage manager works from a script. Your script contains 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 rst 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 furthest 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.

your own

Always write your name legibly, either 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 nd your place when you look back down.

Underline important stage directions, lines, lyrics and individual words. For example, if your line reads “Soon as I take a bite.” and your director wants you to stress these words, underline them in your script.

Save time and space by using the following standard abbreviations:

ON: onstage OFF: offstage

My Son Pinocchio JR. 1 2 3 Disney’s 4 5 6 7 8

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 gures to help you remember your choreography. Remember, the simpler the better.

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

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 nding your lines on the page!

1

Actor’s Script

Allison Canning Annie

Name: ____________________________

Character: ________________________

APPLE SELLER

Why not? Nobody’s buying ‘em anyway.

Gee thanks, Mister.

ANNIE

Say kid, when is the orphan’s picnic?

Soon as I take a bite.

APPLE SELLER

ANNIE

(ANNIE takes a bite of the apple. The APPLE SELLER exits as SANDY enters from the other side.) Hey there. The dogcatchers are after you, ain’t they? Well, they’re after me, too. But don’t worry, I ain’t gonna let them get you or me. Everything’s gonna be fine. For the both of us. If not today, well...

apple. enters are they? gonna For the today,

This example is from

Slowly in 4 qÈ¥¼

ANNIE:

The

MTI’s Broadway Junior Collection® Actor’s Script • broadwayjr.com

MTI’s Broadway Junior Collection® Actor’s Script • broadwayjr.com

J My S R . on Pinocchio JR.

some tips for the theater

PINOCCHIO

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.

Disne y ’s MY SON

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

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

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

aloud. rehearsal.

Bring your script and a pencil to rehearsal.every

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

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

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

N

Disney’s My Son Pinocchio JR.

synopsis

A group of FAIRIES IN TRAINING gather to celebrate yet another “perfectly granted” wish of the BLUE FAIRY (When You Wish Upon a Star). Their celebration is interrupted by the toy maker GEPPETTO, who complains that Pinocchio, the puppet she brought to life as his son, is defective. To uncover the truth, the Blue Fairy takes us back in time to the day of Geppetto’s wish. Geppetto’s toy shop is lled with parents and their eager children (Toys). Having no children of his own, Geppetto envies them and wishes for his heart to be full (Empty Heart). The Blue Fairy grants his wish and brings Pinocchio to life.

The next day, the overjoyed Geppetto teaches Pinocchio a song he learned from his father (Geppetto and Son) and introduces him to the TOWN FATHERS, but Pinocchio wanders away. We then travel forward in time (Rise and Shine) to see Geppetto attempt to teach Pinocchio about toy making. When the disinterested Pinocchio lies, his nose grows. Still not convinced of Pinocchio’s imperfection, the Blue Fairy takes us forward again to Pinocchio’s rst day of school. Heeding Geppetto’s instructions to “act like everyone else,” Pinocchio begins mimicking other students and gets into trouble. In the town square, the puppeteer STROMBOLI notices that Pinocchio is a stringless puppet and tries to recruit him for his marionette show, but the Blue Fairy sends Stromboli away.

Now back in the present, Geppetto repeats his request for the Blue Fairy to take Pinocchio back. Pinocchio overhears and runs away (When You Wish Upon a Star –Reprise). Geppetto goes looking for Pinocchio and nds him performing for Stromboli (I’ve Got No Strings). After the show, Stromboli locks up Pinocchio but tells Geppetto that the puppet left. Meanwhile, Pinocchio escapes, but Stromboli vows to nd him (Bravo Stromboli). The Blue Fairy nally agrees to take Pinocchio back once Geppetto nds him (Just Because It’s Magic). In Idyllia, Geppetto encounters PROFESSORE BUONRAGAZZO and his “perfect child” machine, which creates a series of PERFECT CHILDREN (Satisfaction Guaranteed), but none can replace Pinocchio. Back on the road, Geppetto meets talking ANIMALS who act like something else because of their parents’ expectations. Meanwhile, the Blue Fairy offers Pinocchio to Stromboli, since Geppetto still doesn’t want him (Bravo Stromboli – Reprise).

A RINGLEADER and his ROUSTABOUTS introduce us to a children’s paradise (Pleasure Island). Geppetto nds Pinocchio there but fails to convince him to come home. Suddenly, Pinocchio and the other DELINQUENTS become donkeys and are sent away on a ship, which Geppetto pursues in a rowboat. The young fairy SUE conjures a whale to save them, but it swallows Geppetto and Pinocchio. Inside the whale, Geppetto promises to be a better father if they ever get home (Geppetto and Son – Reprise). Pinocchio lies so that his nose tickles the whale’s throat and it sneezes them out. Back at the toy shop, Stromboli and the Blue Fairy await them. Having learned how to appreciate fatherhood, Geppetto offers Stromboli anything in his shop in exchange for letting him keep Pinocchio (Since I Gave My Heart Away). Stromboli refuses, and the Blue Fairy must to grant Stromboli his wish. But the young fairies point out that Pinocchio has learned to become a real boy, rendering him useless for Stromboli’s show. With father and son now transformed and united for good, the Blue Fairy’s perfect record remains intact!

Disney’s My Son Pinocchio JR.

JR.

J My S R . on Pinocchio

characters

ROSA, VIOLA & ARANCIA – sweet and helpful fairies in training

SUE – a not-so-sweet and only marginally helpful fairy in training

THE BLUE FAIRY – a senior fairy with a perfect wish-granting track record

GEPPETTO – a lonely toy maker who wishes to become a father

TOWN CHILDREN (Dante, Agata, Fiorello, Francesca, Adriana, Luigi, Gina, Lia, Rico) – rambunctious, demanding, toy-loving kids

TOWN MOTHERS & FATHERS (Signori Lisi, Mancini, Sommella, Contrastana, Fucito, Alcamo, Marino) – beleaguered parents

PINOCCHIO – a wooden puppet who becomes Geppetto’s son

SIGNORA GIOVANNI – Pinocchio’s teacher

STROMBOLI – an ambitious puppeteer who is likely missing several marbles

MARIONETTES – members of Stromboli’s puppet troupe

PINOCCHIO

CHILDREN OF IDYLLIA (Amelia, Salvatore, Carla, Lucia, Giuseppe, Boy 1, Boy 2) – the perfect children created by Professor Buonragazzo

BERNARDO & MARIA – married residents of Idyllia

Disne y ’s MY SON

PROFESSORE BUONRAGAZZO – the nutty inventor of a child-making machine

JUNIOR – Buonragazzo’s child and assistant

TALIA – a perfect child

ANIMALS (Pig, Foxes, Horse) – talking creatures whom Geppetto encounters on the road

RINGLEADER – the ruler of Pleasure Island

ROUSTABOUTS – lackeys of the Ringleader

DELINQUENTS (Malvolio, Brutto, Sporco) – wild children on Pleasure Island who turn into donkeys

TUNE-UP starts the show. #2 WHEN YOU WISH UPON A STAR – PART 1 immediately follows. As the lights come up, three small sweet little FAIRIES IN TRAINING appear in front of the show curtain: ROSA – dressed in red, VIOLA – dressed in purple, and ARANCIA – dressed in orange. A fourth, somewhat less sweet FAIRY IN TRAINING joins them: SUE – dressed with her own special style.)

When You Wish Upon a Star (Part 1)

(As the lights come up, three sweet FAIRIES IN TRAINING appear. A fourth, somewhat less sweet, joins them.)

When You Wish Upon A Star (Part 1)

2

(With ethereal grace, the BLUE FAIRY descends to center stage and acknowledges applause.)

BLUE FAIRY

Thank you. Thank you very much. I’m the Blue Fairy. These adorable helpers are my Fairies in Training. They’re here to learn from me, so that someday they can grow up to be almost as perfect as I am. Ladies, why don’t you introduce yourselves?

ROSA (sweetly)

I’m Rosa.

VIOLA (even more sweetly)

I’m Viola.

ARANCIA (so sweet it would make you melt)

I’m Arancia.

Disney’s My Son Pinocchio JR.

SUE

(annoyed) And I’m Sue.

(#3 WHEN YOU WISH UPON A STAR – PART 2.)

BLUE FAIRY

Now ladies, as you know, tonight we’re here to celebrate yet another of my perfectly granted wishes: bringing the puppet boy Pinocchio to life for his lonely toy-maker father, Geppetto. You know, this brings my success rate to... well... one hundred percent. Yes, that’s right. I have a perfect track record.

(The FAIRIES IN TRAINING applaud.)

Thank you. Thank you.

3

When You Wish

Upon A Star (Part 2)

BLUE FAIRY, FAIRIES IN TRAINING:

&4 4 1-9

BLUE FAIRY:

9

Thank you! &4 4 1-9 9

BLUE FAIRY:

Likeaboltout

œ# œ ˙

a tempo&

fatestepsinand

seesyouthrough.

seesyouthrough. œ#

FAIRIES IN TRAINING:

fatestepsinand

fatestepsinand

seesyouthrough.

(BLUE FAIRY):

a tempo&

dream

dream

comes...

∑

(From the side of the stage, a figure pokes his head out. It is GEPPETTO, the toy-maker.)

GEPPETTO

(in a loud whisper)

Psst. Hey! Blue Fairy.

ROSA

Look, Blue Fairy, it’s the toy-maker Geppetto!

(The BLUE FAIRY sees him.)

BLUE FAIRY

What is it you desire, good Geppetto? Remember, only one perfect wish per customer.

GEPPETTO

Actually, I want you to take him back.

BLUE FAIRY

Who?

Pinocchio.

Why?

Because he’s defective.

GEPPETTO

BLUE FAIRY

GEPPETTO

(The BLUE FAIRY is at first stunned then starts to laugh.)

BLUE FAIRY

Who put you up to this – the Green Fairy? Is she around here somewhere? Greenie, come on out, you got me…

GEPPETTO

I’m serious. He can’t follow the simplest rules, he embarrasses me in front of my neighbors, and he has no interest in the family business. Take him back.

BLUE FAIRY

No. He’s exactly what you wished for.

GEPPETTO

Well, I guess a ninety-nine percent success rate is still pretty good...

4 Disney’s My Son Pinocchio JR.

(The FAIRIES IN TRAINING gasp.)

BLUE FAIRY

Watch your tongue!

VIOLA

I know – why don’t we just go back in time and see the wish?

BLUE FAIRY

That’s a wonderful idea, Viola. We’ll start in your toy shop the morning before you made your wish. The morning you introduced your new toys to the town.

SCENE TWO: THE TOY SHOP

(THE BLUE FAIRY waves her wand as the scene changes to Geppetto’s shop. #4 TOYS. A stream of CHILDREN and their PARENTS pour into the toy shop, excited to play with the new year’s selection. It is a child’s paradise.)

Toys from Disney's My Son Pinoccio JR.

Toys

1

shopthatisburstingwith

pummelandpull.Isee

toys! I'mina

toys— thingsyoucan

toysyouholdatnightandsnuggle.

BOYS:

GIRLS: CHILDREN:

Boys orgirls,which

toystoputa

GINA:

SIGNORA LISI: più mosso

(The PARENTS try to gain a measure of control over their now frenzied CHILDREN. GEPPETTO watches them and shakes his head. This is not how he would handle the situation.) & #

SIGNOR FUCITO:

Nodear,that'smuch too fragile!

No,dear,that'stooexpensive!& # 60

No,dear,thatmakestoo much

SIGNOR ALCAMO: SIGNORA SOMMELLA:

#

SIGNORA MANCINI: jœ ¿ ¿ ¿ ¿ ¿ ¿ ¿ noise—rememberMommy'sheadaches! & # 62 œ

No,dear,you'llonlybreakthat!

PARENTS:

œ œ # œ œ œ No,dear,yourDadcouldmake that!& #

Youalreadyhavesomany

SIGNORA MANCINI:

No. 4 Toys (p. 4 of 14)

¿ ¿ ¿ Œ toys—Don'tbegreedy! -& #

Disney’s

Please,dear,don'tstartthatsniv'ling!

SIGNOR

GEPPETTO:

(Off to the side of the main floor is a roped-off area where Geppetto’s workbench and tools lie. Sitting in the center of the wooden work table is a shiny silver cloth covering some unknown toy. ADRIANA stands behind the ropes, staring at the cloth. Her mother, SIGNORA LISI, approaches as the nearby GEPPETTO listens.)

ADRIANA

I want that!

SIGNORA LISI

But darling, it’s all covered up...

ADRIANA

peoplewhodon'tknowhow

That’s why I want it! (GEPPETTO approaches.)

Can I help you?

GEPPETTO

SIGNORA LISI

My child would like whatever that toy is on the table.

GEPPETTO

I’m sorry, it’s not for sale.

ADRIANA

But I want it!

SIGNORA LISI

Don’t start with me – the man said it’s not for sale.

ADRIANA

You promised. You said I could have any toy in the store! You promised! You promised!

(ADRIANA starts bawling.)

SIGNORA LISI

Stop crying! I told you if you started crying that we would go home – is that what you want?

(ADRIANA cries harder. GEPPETTO leans down and holds his hands in front of her.)

GEPPETTO

Pick a hand.

(ADRIANA continues to cry.)

Go on – pick a hand.

(ADRIANA tentatively picks a hand. GEPPETTO keeps it closed.)

I would pick the other one.

(ADRIANA does. GEPPETTO opens his hand to reveal a sparkling, glittering, piece of candy. She stops crying immediately and stares at the candy, mesmerized.)

ADRIANA

It’s chocolate!

Go ahead. Take it.

GEPPETTO

(ADRIANA takes the candy.)

Hold on to it until your mother says you can eat it— (ADRIANA eats the candy.) Or eat it now, either way...

10 Disney’s My Son Pinocchio JR.

(ADRIANA smiles and runs off to play. GEPPETTO stands and faces the SIGNORA LISI as if to say, “see how easy that was?” SIGNORA LISI runs after her daughter. GEPPETTO shakes his head, appalled by the demonstration of bad parenting. He sings to the covered toy.)

128

& b

128 œ

œ œ œ

everbe

mine.

Tempo I q = 160 w mine...& b 131 ¿ Œ . ¿ j¿

˙ everbe

w mine...& b 131 ¿ Œ . ¿ j¿ Look!Look!That

Look!Look!That

GEPPETTO: Pick a hand. (The CHILD continues to cry.) Go on - pick a hand. (The CHILD tentatively picks a hand.) I would pick the other one.

133 ¿ ¿ ¿ ¿ ¿ Œ toyIneverhad! Ó Œ‰ j¿ What

& & b b 133 ¿ ¿ ¿ ¿ ¿ Œ

CHILDREN: BOYS: GIRLS: ¿¿¿¿¿¿¿¿¿¿¿ whirlagigwiththethingamajigisa -- --& & b b

& b

& b 135

137 O Pleeeeze!

¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

PARENTS:

135 ¿ ¿ ¿ ¿ ¿ Œ wantitreallybad!

PARENTS:

Œ‰ j

Πwantitreallybad!

~~~~~~~~~~~~~~~~~~~~~~~~ gliss.

∑

O

Œ ¿ ¿ ¿ ‰ ¿ ¿ Idon'tknow,butI ¿ ¿ ŒÓ isit?

O ΠPlease?& & b b

GEPPETTO:

139

CHILDREN:

(The frenzy builds even more as the CHILDREN, PARENTS and GEPPETTO all sing in counterpoint.) &

Toys! I'mina

PARENTS: GEPPETTO:

No,dear,that'smuchtoofragile!

3 3

peo plewho should n'thave

141

toys! I'mina

No,dear,thatmakestoomuch

Nodear,that'stooexpensive!

children?

143

toys—thingsyoucan

children who have

shopthatisburstingwith

Whyisitthe

peoplewhodon'tknowhow

luckytheyarewhoare

slipupinheaven's

toysyouholdatnightandsnuggle!

toys—don'tbegreedy!

YouknowMommyhatesitwhenyou

(#5 TOYS – PLAYOFF. The CHILDREN and PARENTS exit as GEPPETTO walks slowly to the covered toy and removes the cloth. It is a wooden marionette.)

BLUE FAIRY

(from off to the side)

And now, the wish:

GEPPETTO

You would have had so much fun today, Pinocchio. All those toys. All those children to play with.

(picks up PINOCCHIO’s strings and makes him stand, then bow)

Oh – so polite. Your father certainly has done a fine job raising you.

(leans the puppet against the wall and braces him, then takes a music box from the shelf and winds it up)

A little music to help you sleep.

(GEPPETTO opens the music box – a beautiful melody plays. #6 EMPTY HEART.)

Besides, it’s way too quiet in here.

(GEPPETTO looks over at PINOCCHIO with a touch of longing.)

Empty Heart

from Disney's My Son Pinocchio JR.

Empty Heart

(GEPPETTO looks off into the distance and sees the wishing star shining brightly.)

(#7 THE BLUE FAIRY The BLUE FAIRY steps into the scene and takes center stage.)

BLUE FAIRY

And then what happened? I miraculously appeared and said: (full of dramatic flair)

Good Geppetto, you have given so much happiness to others. You deserve to have your wish come true. (waving her magic wand)

Little Pinocchio, prove yourself brave, truthful, and unselfish, and someday you will be a real boy.

PINOCCHIO

(coming to life and seeing GEPPETTO)

Daddy!

Pinocchio?

GEPPETTO

(PINOCCHIO runs across the stage to GEPPETTO and gives him a big hug. GEPPETTO melts into the embrace.)

BLUE FAIRY (to the FAIRIES IN TRAINING)

Listen to what he said next.

GEPPETTO (still in the moment)

Finally, a boy of my own.

BLUE FAIRY (self-satisfied)

Wish granted!

GEPPETTO

(breaking out of the moment)

Hold it, hold it, hold it! That was before I knew what he was like. Things started to go wrong the very next day.

BLUE FAIRY

Like what?

GEPPETTO

Well, like... for instance... You know, this would be a lot easier if you could just use your magic to take us to that day, and I could show you.

(The BLUE FAIRY sighs.)

BLUE FAIRY

“Use your magic. Use your magic.” That’s all I hear from you people. Okay, fine – we’ll go see his first day.

(to the FAIRIES IN TRAINING)

Girls, here’s a chance to practice your magic.

(The FAIRIES IN TRAINING step forward. They each hold a musical instrument: a drum, a whistle, a flute, and a pair of cymbals.)

ARANCIA

8

Pinocchio’s first day, coming up!

(#8 RISE AND SHINE – PART 1. The FAIRIES IN TRAINING march in a circle, singing and playing their instruments.)

(Three TOWN FATHERS appear in the center of the circle, frozen.)

(Crash!! SUE bashes her cymbals right by GEPPETTO’s ear. He cringes.)

GEPPETTO

Come on, Pinocchio. This is your first day and it’s time to meet the town fathers. Are you as excited as I am?

PINOCCHIO

Yes, Dad!

(soaking in the word) Dad.

GEPPETTO

No. 8 Rise and Shine (Pt. 1) (p. 1 of 2)

(#9 GEPPETTO AND SON – PART 1. GEPPETTO smiles.) Well, son, when I was about your size, my father taught me a little song that only he and I knew. I always told myself if I ever had a boy of my own, I would teach it to him. It goes like this:

Geppetto and Son (Part 1)

Exactly!

GEPPETTO

That’s it! Okay, now you’re ready to meet the Town Fathers. They’re going to be so impressed! (calling to them)

Signori!

(The TOWN FATHERS come to life.)

SIGNOR PROTO

Signor Geppetto! (seeing PINOCCHIO)

Well now, what have we here? A new toy?

GEPPETTO

No. This is my son!

SIGNOR ALCAMO

Your son! Congratulations!

(GEPPETTO beams.)

SIGNOR MARINO

(to PINOCCHIO)

What’s your name, little one?

PINOCCHIO

Pinocchio.

SIGNOR MARINO

Pinocchio – a beautiful name. What does it mean?

(PINOCCHIO wanders off.)

GEPPETTO

“Eye made of pine”.

SIGNOR PROTO (huh? a beat, then)

Lovely!

GEPPETTO

He’s extremely bright. And talented. Watch this. (#10 GEPPETTO AND SON – PART 2.)

22 Disney’s My Son Pinocchio JR.

Geppetto and Son (Pt. 2) from Disney's My Son Pinocchio JR.

Geppetto and Son (Pt. 2) from Disney's My Son Pinocchio JR.

Geppetto and Son (Pt. 2) from Disney's My Son Pinocchio JR.

Moderate Waltz q = 180 GEPPETTO:

Geppetto and Son (Part 2)

Moderate Waltz q = 180

Moderate Waltz q = 180

& b 4 3

Moderate Waltz q = 180

GEPPETTO:

ŒŒ

GEPPETTO:

Œ

œ

œ

Who's

best,you

ask,the

petto

. ˙ team?

4 & b

Who?Gep j œ . œ Œ petto

GEPPETTO: Now, Pinocchio!

Who? Gep j

œ .

(Still nothing. GEPPETTO looks around but doesn’t see PINOCCHIO.)

(GEPPETTO)

Pinocchio? Pinocchio – where are you?

SIGNOR PROTO

No. 10 Geppetto and Son (Pt. 2) (p. 1 of

You do know you have to keep an eye on him, don’t you?

SIGNOR MARINO

They’re awfully mischievous at that age.

No.

No. 10 Geppetto and Son (Pt. 2) (p. 1 of 1)

GEPPETTO

No 10 Geppetto and Son (Pt 2) (p 1 of 1)

I’m sorry about this. He’s not usually... I... Excuse me for just a second.

(GEPPETTO moves away to look for PINOCCHIO.)

SIGNOR ALCAMO

Some are harder to control than others.

SIGNOR MARINO

And some have better role models...

(The TOWN FATHERS mumble in agreement. GEPPETTO addresses the BLUE FAIRY, who’s been watching the whole time.)

See?

See what?

GEPPETTO

BLUE FAIRY

GEPPETTO

How he embarrassed me? First day out and he’s already misbehaving.

(sees that the BLUE FAIRY isn’t impressed) Well, there’s more. (thinks for a moment)

There’s the day I tried to teach him about being a toymaker. (ROSA steps forward.)

ROSA

Pinocchio’s second day – coming right up!

(#11 RISE AND SHINE – PART 2. The FAIRIES IN TRAINING form a circle again and start marching and singing. Again the BLUE FAIRY steps back to watch.)

Rise and Shine (Pt. 2) from Disney's My Son Pinocchio JR.

Rise and Shine (Part 2)

# #

(An unfinished toy appears in the middle of the circle. GEPPETTO sees SUE coming towards him with the cymbals. GEPPETTO quickly moves to the other side of the stage.)

(SUE doesn’t bang her cymbals in musical time, but rather crosses to GEPPETTO and slams them right by his head. GEPPETTO cringes. The FAIRIES IN TRAINING open their circle and the scene begins in the Toy Shop.)

No. 11 Rise and Shine (Pt. 2) (p. 1 of 2)

GEPPETTO

Pinocchio! (PINOCCHIO enters.)

Today is a very big day! I’m going to teach you to be a toy maker – just like me!

PINOCCHIO

But I don’t want to be a toy maker.

GEPPETTO

What? Of course you do. You just don’t know it yet.

PINOCCHIO

I want to be a train engineer!

(picks up a toy train and starts to play with it) Choo! Choo! All aboard! Choo! Choo!

GEPPETTO

(taking the train)

Give me that.

(puts the train on a shelf out of PINOCCHIO’s reach)

We come from a long line of toymakers. My father was a toymaker and his father before him. Now pay attention, you have to really concentrate here.

(examines the new toy)

See, the gears have to be perfectly aligned...

(#12 GEPPETTO AND SON – PART 3. GEPPETTO starts to tweak and fiddle with the toy as he sings to himself. Meanwhile, PINOCCHIO tries to retrieve the train from up on the shelf.)

Geppetto and Son (Pt. 3) from Disney's My Son Pinocchio JR.

Geppetto and Son (Part 3)

(Crash!! PINOCCHIO has knocked down the train, sending toys, tools, and other materials clattering to the floor.)

(GEPPETTO)

Pinocchio!

PINOCCHIO

I didn’t do it! It wasn’t me. I was just sitting here, listening to you, when... this wind came in through the window and... uh... knocked the shelf down and... (as his nose grows longer, he stops, alarmed) What’s happening to my nose??

GEPPETTO

You can always tell when a little boy lies, Pinocchio.

PINOCCHIO

But I’m not! I’m not lying! I’m not, I’m not, I’m not!

(PINOCCHIO’s nose grows longer with each lie.)

No. 12 Geppetto and Son (Pt. 3) (p. 1 of 1)

GEPPETTO

Obviously, your nose doesn’t agree. (mustering his “fatherly” abilities)

You know what? You’re grounded!

(PINOCCHIO starts to cry. GEPPETTO softens.)

Well, you don’t have to cry about it.

(PINOCCHIO cries harder.)

Oh, come on, stop that.

(PINOCCHIO continues. GEPPETTO feels terrible. He tries to think of something to say, but can’t. He is suddenly struck with inspiration. GEPPETTO reaches into his pocket and then holds both hands in front of him as he did to the crying child earlier in the store.)

Pick a hand.

(PINOCCHIO just keeps crying.)

Go ahead, pick a hand.

(PINOCCHIO bats his hands away.)

PINOCCHIO

(through his tears)

I don’t want to pick a hand.

(GEPPETTO is at first stunned, then grows annoyed.)

GEPPETTO

Fine. Then cry if that’s what you want to do.

(PINOCCHIO runs off. GEPPETTO turns to the BLUE FAIRY.)

Now you get it?

(The BLUE FAIRY rolls her eyes.)

No, of course you don’t. Well, watch what happened the next morning.

(to the FAIRIES IN TRAINING)

Girls—

That’s “ladies” to you. (announcing)

Pinocchio’s third day.

SUE

(#13 RISE AND SHINE – PART 3. The FAIRIES IN TRAINING re-form their circle. GEPPETTO catches eyes with SUE, walks over to her, and grabs the cymbals from her hands.)

Rise and Shine (Pt. 3) from Disney's My Son Pinocchio JR.

Rise and Shine (Part 3)

Rise and Shine (Pt.

13 & # #

FAIRIES IN TRAINING:

(SIGNORA GIOVANNI, the middle-aged schoolmarm, appears in the center of the circle.)

Bingbong,bingthe

tempusfugit

Bingbong,bingbong,

minutesmarching

hopeandpromise.

saysthisbrightnew

inaline.

sunishuge,it

daytocomeis

(SUE, of course, ends up right by GEPPETTO – but without her cymbals. GEPPETTO smiles smugly.)

& # #

No. 13 Rise and Shine (Pt. 3)

(SUE pulls a noisemaker out of her pocket and blows it at GEPPETTO, getting him once again. The circle opens and several SCHOOL CHILDREN hurry over. They sit around SIGNORA GIOVANNI as if for a lesson and freeze.)

No. 13 Rise and Shine (Pt. 3)

GEPPETTO

Pinocchio! Wake up. It’s time for your first day of school!

PINOCCHIO

(yawning and stretching)

Wow! I slept like a log!

GEPPETTO

You are a log. Now, get over here. (straightens PINOCCHIO’s outfit)

Remember, Pinocchio, just act like all of the other children. Do exactly what they do, and you’ll be fine.

PINOCCHIO

Act like the other children. Got it, Dad.

GEPPETTO

Good boy. Now, run along.

PINOCCHIO

Bye, Dad!

Geppetto and Son (Pt. 4) from Disney's My Son Pinocchio JR.

(PINOCCHIO runs over to the CHILDREN and sits with them. #14 GEPPETTO AND SON – PART 4.)

Geppetto and Son (Part 4)

(Before GEPPETTO can finish, a ruckus draws his attention back to SIGNORA GIOVANNI and the CHILDREN. PINOCCHIO and another BOY are having a fight.)

SCHOOL CHILDREN

Fight! Fight! Fight! Fight!

SIGNORA GIOVANNI

Break it up! Break it up! (to GEPPETTO)

Signor Geppetto!

(GEPPETTO hurries over. He pulls PINOCCHIO off of the other BOY.)

GEPPETTO

What’s going on here?

SIGNORA GIOVANNI

I’ll tell you what’s going on, Signor Geppetto. From the minute your boy got here, he has been imitating the other children.

GEPPETTO

(to PINOCCHIO)

Is that true?

PINOCCHIO

Well, you told me to act like everyone else!

GEPPETTO

You know that’s not what I meant. How hard is it to just follow the rules?

PINOCCHIO

But I—

GEPPETTO

Don’t act like you were born yesterday.

PINOCCHIO

But I was born yesterday!

GEPPETTO

I don’t want to hear excuses.

SIGNORA GIOVANNI

You’re not very good at listening, are you, Pinocchio? (to GEPPETTO)

He’s fast becoming a delinquent, Signor Geppetto, and if you’re not careful he’ll end up running off to Pleasure Island. Take your boy home before he causes any more trouble. (turns to go, then turns back with one last thought)

Why is it the people who shouldn’t have children who have children?

30 Disney’s My Son Pinocchio JR.

(GEPPETTO, stung by this last statement, steps out of the scene to address the BLUE FAIRY once again. PINOCCHIO freezes, out of earshot.)

GEPPETTO

(to the BLUE FAIRY)

So you see – there was a problem every day. He’s disrespectful, poorly behaved, and doesn’t want to be a toy maker.

(to the FAIRIES IN TRAINING)

Thank you for helping me prove my point—

(Suddenly, STROMBOLI enters – a large, colorfully dressed man carrying two MARIONETTES on strings who are, in turn, carrying fliers. He launches into his spiel.)

STROMBOLI

Hello there!

(STROMBOLI speaks for his MARIONETTES in a high-pitched voice. This would resemble ventriloquism, were his lips not so obviously moving.)

LEFT MARIONETTE

Hello!

Hello!

This is a bad time.

RIGHT MARIONETTE

GEPPETTO

STROMBOLI

It’s never a bad time for Stromboli’s Amazing Marionette Show!

(STROMBOLI bounces the MARIONETTES back and forth.)

BOTH MARIONETTES

LA LA LA LA LA!

STROMBOLI

(with growing desperation)

Perhaps acrobatics are more your speed?

(SIGNORA ROSATI passes with her son FIORELLO as STROMBOLI flips the MARIONETTES upside down in a ridiculous acrobatic display. She pauses for a moment.)

SIGNORA ROSATI

Look, Fiorello – it’s that tragic puppeteer again: Signor Stromboli.

FIORELLO

His shows stink!

(SIGNORA ROSATI and FIORELLO turn and exit.)

STROMBOLI

(to the audience)

Everyone’s a critic. (notices PINOCCHIO off to the side)

How about you, little boy? Do you like first-rate entertainment?

PINOCCHIO

I think so.

Do you like...

STROMBOLI

(STROMBOLI stops mid-sentence. Something about this boy is different. He leans down and lifts PINOCCHIO’s arm, swinging it slowly and examining his elbow.)

Quite an interesting joint you’ve got there, kiddo. Are these dovetailed or bolted from the inside?

(#15 STROMBOLI’S INNER THOUGHTS. STROMBOLI suddenly stands upright. A light hits him as he has an epiphany. The BLUE FAIRY, GEPPETTO and PINOCCHIO freeze.)

Wait a minute! Children don’t have wooden joints!

(STROMBOLI leans down again and looks at PINOCCHIO closely for a beat, then stands back up.)

LEFT MARIONETTE

I don’t think that’s a child at all!

RIGHT MARIONETTE

It’s a stringless puppet!

STROMBOLI

A stringless puppet could reverse my fortunes... (Suddenly the lights shift, and we are back in real time. GEPPETTO, the BLUE FAIRY and PINOCCHIO un-freeze. STROMBOLI flashes a smile at PINOCCHIO.)

Do you like to sing and dance?

Oh, yes—

PINOCCHIO

STROMBOLI

Then come join my show. (pointing)

Just down the road there, my boy.

GEPPETTO

(to STROMBOLI)

He’s not your boy. Now go away, and stop bothering us. (to PINOCCHIO)

Haven’t I told you not to talk to strangers?

PINOCCHIO

No.

GEPPETTO

Well, I’m telling you now. Go inside. I’ll join you in a minute. (PINOCCHIO looks at STROMBOLI, then back at GEPPETTO. He’s clearly upset that he can’t go sing and dance.)

Now, Pinocchio!

(PINOCCHIO goes inside the toy shop. Unbeknownst to the others, he listens to the following scene.)

BLUE FAIRY

(to STROMBOLI)

And you should be on your way as well.

(

#16 THE BLUE FAIRY’S THREAT. The BLUE FAIRY pulls out her wand. STROMBOLI bows to her several times as he backs off stage.)

STROMBOLI

I’m leaving right now, your magic-ness. Please don’t turn me into some loathsome amphibian.

BLUE FAIRY

(to GEPPETTO)

Now, where were we?

GEPPETTO

We were discussing how you were going to fix Pinocchio.

BLUE FAIRY

(exiting)

Good Geppetto, we do not fix what is not broken.

GEPPETTO

(following)

Come back here! Look, the kid’s a big disappointment. I don’t want him – so take him back!

(#17 WHEN YOU WISH UPON A STAR – REPRISE. GEPPETTO exits. PINOCCHIO gasps, distraught by what he’s just heard.)

When You Wish (Reprise)

When You Wish Upon A Star (Reprise)

from Disney's My Son Pinocchio JR.

(PINOCCHIO leaves a note “To Dad” then picks up a suitcase.)

(PINOCCHIO)

Goodbye, Dad.

(PINOCCHIO exits as GEPPETTO enters.)

GEPPETTO

(calling offstage)

Okay, Pinocchio, you’ve been up there long enough! (There is no response.)

Pinocchio??

(spies the note)

A note?

(reading)

“Dear Dad, I’m sorry I’ve been such a big disappointment. But you don’t have to worry about me anymore. I’ve decided to sing and dance in Signor Stromboli’s show.”

34 Disney’s My Son Pinocchio JR.

(GEPPETTO)

(takes a moment)

Stromboli?... Maybe it’s better this way.

(convincing himself)

Stromboli knows how to take care of puppets... And I’ll get my old life back.

(beat)

It’s too quiet in here.

(#18 GEPPETTO’S MUSIC BOX. GEPPETTO opens and winds the music box. It plays “Empty Heart.”)

Geppetto's Music Box

from Disney's My Son Pinocchio JR.

Geppetto’s Music Box

GEPPETTO:

(GEPPETTO closes the music box.)

(GEPPETTO)

I should just make sure he’s okay.

(GEPPETTO exits.)

SCENE THREE: THE PUPPET SHOW

(Geppetto closes the music box.)

(#19 I’VE GOT NO STRINGS. Stromboli’s cart is open with a mini-stage in the middle. STROMBOLI makes several MARIONETTES dance on the stage. CHILDREN crowd around to see the show. PINOCCHIO dances and sings among them.)

& # C

I've Got No Strings from Disney's My Son Pinocchio JR.

I’ve Got No Strings

PINOCCHIO:

‰ J

gotnostringsto & # 12

J

holdmedown,to

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Ihadstringsbut

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arenostringson & #

me!

#

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merryo,

he'sashappyascan

PINOCCHIO:

be.

Hewantsthe& #

worldtoknow

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gotnostringsso

30

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me.I've

‰ J

‰ J

No. 19 I've Got No Strings (p. 1 of 4)

36 Disney’s My Son Pinocchio JR.

.

2

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PINOCCHIO:

Can you believe it?

No. 19 I've Got No Strings (p. 2 of 4)

AGATA

That was the best show I’ve ever seen!

That puppet was amazing!

DANTE

GINA

How did Stromboli ever find him?

STROMBOLI

(leaning around the cart, calling after them)

There’s another show in two hours! Tell all your friends! (The cart rotates so that we find ourselves behind it.

MARIONETTES litter the ground. STROMBOLI sits at a small wooden desk piled high with gold coins, which he counts.)

One thousand one, one thousand two... We really cleaned up, my little Pinocchio. Just think... a thousand pieces of gold for every town in Italy! What do you say to that?

PINOCCHIO’S VOICE

Can I come out now?

(STROMBOLI spins and pulls a cloth covering off of a small cage. In it sits PINOCCHIO!)

STROMBOLI

(patronizing)

Come out? No, no, no, my dear little stringless puppet. We must lock up our valuables lest someone steal them...

PINOCCHIO

But I want to come out!

STROMBOLI

You will do as you’re told!

(Suddenly, from behind the cart, a voice is heard.)

GEPPETTO

Hello...? Signor Stromboli...? (STROMBOLI looks up in alarm.) Hello...?

(STROMBOLI leaps up and drapes the cloth over Pinocchio’s cage.)

STROMBOLI

(to PINOCCHIO)

Not a word out of you, or you’ll regret it faster than you can say “kindling.”

(pushes the cage out of view just as GEPPETTO comes around the cart)

(STROMBOLI)

Hello. How can I help you?

(STROMBOLI rushes over to his desk and sweeps the gold coins into a drawer.)

GEPPETTO

I just, uh... I wanted to make sure that… you know that Pinocchio is all right and that—

STROMBOLI

Who?

Pinocchio. (singing)

“I’ve got no strings...”

GEPPETTO

STROMBOLI

Oh, yes – little Pistachio. Talented fellow. You just missed him.

GEPPETTO

His name is Pinocchio. What do you mean I just missed him? He’s the star of your show!

STROMBOLI

I wish. No – little Pinochle was a one night engagement. (GEPPETTO starts towards the side of the cart where PINOCCHIO is hidden. STROMBOLI quickly puts an arm around him and steers him in the opposite direction.)

Alas, he’s gone. That Parchesi is free as a bird.

GEPPETTO

(an involuntary thought)

He’ll never make it out there on his own.

STROMBOLI

If you hurry, you can catch him.

GEPPETTO

Thank you for your help, Signor Stromboli.

(GEPPETTO hurries off.)

STROMBOLI

(calling after)

Good luck, Signor.

(races to the side of the cart and pulls the cage back into view) That was a close one. We’ll have to be much more careful in the...

(pulls the cloth off of the cage only to find… Pinocchio is gone!!) ... aaak. Aaak... PPPP...

(drops the cloth and runs downstage, looking off in the distance in every direction)

How could this happen!!

(races back to cart and starts to pack it up; scoops up a marionette)

You! You were supposed to be watching him!

(Once again, STROMBOLI speaks in a high-pitched voice for the marionette. It becomes evident that this is not a ventriloquist act at all – these are his imaginary friends.)

MARIONETTE

I... I only closed my eyes for a second...

(STROMBOLI flings the marionette aside. He turns to another marionette, this one with big round eyes and no eyelids.)

STROMBOLI

And you! I told you to keep your eyes peeled!

MARIONETTE

I’m glad that new puppet’s gone!

STROMBOLI

(spins around)

Who said that?

(digs behind a cluttered table and finds another marionette) I remember you. You used to be my star attraction. Now look at you.

MARIONETTE

I can make a comeback! You don’t need Pinocchio.

STROMBOLI

Who are you kidding? You’re washed up. Just like the rest of them.

(to all the marionettes)

We have to find Pinocchio before his father does, or you’ll all be out on the street!

(#21 BRAVO

STROMBOLI

.)

40 Disney’s My Son Pinocchio JR.

Bravo Stromboli from Disney's My Son Pinocchio JR.

Bravo Stromboli

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STROMBOLI: ∑ ∑

(#22 STROMBOLI OFF. STROMBOLI exits with the marionettes.)

SCENE FOUR: THE ROAD

(GEPPETTO searches for PINOCCHIO.)

GEPPETTO Pinocchio? Pinocchio!?

(Suddenly, the BLUE FAIRY and her FAIRIES IN TRAINING appear.)

BLUE FAIRY

(playing naive)

So... what’cha doing?

44 Disney’s My Son Pinocchio JR.

ARANCIA

I think he’s looking for somebody.

GEPPETTO

No, I’m not.

Yes, you are.

VIOLA

GEPPETTO

No, I’m— (SUE walks over with the noisemaker. GEPPETTO backtracks.) Okay, fine, I’m looking for him. But I’m just doing what any normal person would do when a child runs away.

BLUE FAIRY

I think you care about him.

GEPPETTO

You know what? Why don’t you make yourself useful and wave that little magic wand of yours and find out where he is?

(#23 JUST BECAUSE IT’S MAGIC.)

BLUE FAIRY

Again with the magic. (to the FAIRIES IN TRAINING) Here’s a good lesson for you girls:

Just Because It's Magic from Disney's My Son Pinocchio JR.

GEPPETTO

How about we make a deal?

BLUE FAIRY

(suspiciously)

What kind of deal?

GEPPETTO

Very simple: I’ll find him, and when I do – you take him back.

BLUE FAIRY

Why would I want to do that?

GEPPETTO

(marching and yelling)

The Blue Fairy’s a fraud! The Blue Fairy does not have a perfect record!

Okay, fine

it’s a deal. You find him, I’ll take him back!

GEPPETTO:

BLUE FAIRY: FAIRIES IN TRAINING:

BLUE FAIRY

Come on, girls!

(All of the FAIRIES exit. GEPPETTO continues on his search for PINOCCHIO.)

GEPPETTO

(to the audience)

Is it just me, or is she really annoying?

(Suddenly, GEPPETTO hears a chastising voice from behind him.)

AMELIA

If you don’t have something nice to say, you shouldn’t say anything at all.

GEPPETTO

(turning to see AMELIA)

You know, you’re absolutely right. I shouldn’t have said that. (SALVATORE approaches.)

SALVATORE

(to AMELIA)

Excuse me. I wanted to let you know that you can play with my new horse and wagon now. It’s nice to share.

AMELIA

Thank you.

SALVATORE

You’re welcome. Would you like to come to my house for dinner tonight? We’re having liver and broccoli.

AMELIA

Mmmm, broccoli! My favorite!

GEPPETTO

(to the audience, full of meaning)

What lovely, polite and respectful children, don’t you think? (to the CHILDREN)

Excuse me, well-behaved children, is there an adult around that I could talk to?

AMELIA

Yes, Signor. (taking GEPPETTO’s hand)

Right this way. Welcome to Idyllia.

SCENE

FIVE: IDYLLIA

(

#24 IDYLLIA. Idyllia is a land of perfect children: perfectly dressed, perfectly quiet, perfectly polite. GEPPETTO hears snippets of conversation as he is lead through the town.)

CARLA

I’ve got an idea, let’s invite my younger brother to come play with us.

LUCIA

Okay, but only if he gets to pick the game.

GIUSEPPE

Do you think your mother would let me take out the garbage at your house too?

GEPPETTO

(to himself, regarding the polite children) I knew I wasn’t being unreasonable.

(AMELIA finally leads GEPPETTO to a couple, MARIA and BERNARDO, who are adoringly watching several of the children play.)

AMELIA

Here you go, Signor.

Thank you.

GEPPETTO

You’re welcome.

(to BERNARDO)

AMELIA

GEPPETTO

Excuse me. I’m looking for a little boy.

BERNARDO

Really?

MARIA

We’re looking for a little girl! In fact, we’re on our way to see the professor right now.

(BERNARDO and MARIA lead GEPPETTO across the stage.)

GEPPETTO

(still very confused)

The professor?

MARIA

Professore Buonragazzo. He’s the best!

(No sooner has MARIA said this than we see a large, colorful, complicated machine roll on stage with PROFESSORE BUONRAGAZZO at its side, busily turning dials and spinning knobs.)

BUONRAGAZZO

Maria and Bernardo! I’m so glad to see you! And you’ve brought a friend.

(to GEPPETTO)

Come to help them with the decision, eh?

GEPPETTO

Well, no. Actually I’m looking for a little boy.

BUONRAGAZZO

Fantastico!

(to BERNARDO)

You get a discount for the referral.

GEPPETTO

His name is Pinocchio, and he—

BUONRAGAZZO

Pinocchio! “Eye made of pine.” What a beautiful name. (calling.)

Junior, we’re ready to begin!

(From behind the machine appears JUNIOR, a clone of PROFESSORE BUONRAGAZZO, only smaller.)

JUNIOR

Presenting our new and improved, fantastical, scientifical, child-making machine!

(#25 MACHINE FANFARE. A brief fanfare sounds as JUNIOR throws a few switches and all of the lights on the machine come on! It whirs and hums. Moving parts move. It is quite a sight to see. GEPPETTO is awed by the display.)

GEPPETTO

(in disbelief)

You make children?!

BUONRAGAZZO

Not just any children. (lowering his voice to a whisper)

Perfect children. We used to have them the old fashioned way, but it was too unpredictable.

MARIA

People had boys when they wanted girls.

BERNARDO

Children would misbehave. Break things.

BUONRAGAZZO

(pointedly)

Sometimes, they would even run away. (MARIA and BERNARDO gasp!)

This way, there is nothing left to chance! (calling)

Junior!

(JUNIOR flips some switches.)

JUNIOR

Ready to go! We just need the last two inputs.

BUONRAGAZZO

(turns to MARIA and BERNARDO)

Okay. Have you made your final decision?

MARIA

We’ve really agonized. But... we were thinking blonde.

BUONRAGAZZO

Blonde, molto stupendo. And eyes?

BERNARDO

(clasping MARIA’s hands)

Blue.

BUONRAGAZZO

Benissimo! A classic combination. One blue-eyed blonde coming right up. (calling)

Junior!

(#26 THE MACHINE. JUNIOR throws switches. The machine goes into high gear. All eyes turn to stare as kerplunk, out comes TALIA, blonde, blue-eyed and precious as all get-out.)

TALIA

Hello, Mother. Hello, Father. It’s a pleasure to meet you both.

(GEPPETTO gapes in amazement. #27 SATISFACTION GUARANTEED – PART 1.)

essorBuonra

betterwayto

child,andyou'llbe

certaintosuc

(BUONRAGAZZO leads GEPPETTO to the machine.)

(BUONRAGAZZO)

Now for you. You’ll have a new little Pinocchio faster than you can say Jiminy Cricket. (to JUNIOR)

Let the magic begin!

(#28 SATISFACTION GUARANTEED – PART 2. JUNIOR throws the dials and kerplunk! Out pops a BOY vaguely resembling Pinocchio.)

Satisfaction Guaranteed (Pt. 2)

from Disney's My Son Pinocchio JR.

Satisfaction

Guaranteed (Part 2)

Daddy!

Isn’t he precious?

Well...

BUONRAGAZZO

GEPPETTO

BUONRAGAZZO

I know just what you mean. (calling)

Junior!

56 Disney’s My Son Pinocchio JR.

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(The number ends in a flourish with all hands pointing towards BUONRAGAZZO in the center. He looks around for GEPPETTO, who is nowhere to be seen.)

BUONRAGAZZO

Signor Geppetto? Signor!? Where did he go??

(#30 SATISFACTION GUARANTEED – PLAYOFF. BUONRAGAZZO and the rest of Idyllia disappear.)

SCENE SIX: THE ROAD

(On the road again, GEPPETTO races in, still trying to get as far away from Idyllia as possible. He runs right into the BLUE FAIRY.)

GEPPETTO

Ooof! What are you, following me?

BLUE FAIRY

Actually, yes. (to the FAIRIES IN TRAINING)

Girls?

(The FAIRIES IN TRAINING pass forward a scroll of parchment.)

ARANCIA

It’s a contract.

ROSA

It says when you find Pinocchio, we will take him back.

VIOLA

You need to sign it.

SUE

The Blue Fairy always says to get everything in writing.

(The BLUE FAIRY unrolls the scroll and hands it to GEPPETTO, along with a long feathered quill.)

BLUE FAIRY

At the X, please.

(GEPPETTO reads through the contract and starts to sign.)

You know, I’m surprised you didn’t like any of those manufactured children.

GEPPETTO

I never said Pinocchio had to be perfect. (The FAIRIES IN TRAINING roll their eyes, snort, and otherwise indicate their disbelief. The BLUE FAIRY checks the contract, rolls it up, and gestures for the FAIRIES IN TRAINING to follow her off stage. GEPPETTO calls after them.)

I just wanted him to behave, and show at least some interest in the family business.

(turns to go and runs into a PIG) Oh, hey, sorry about that. I didn’t see you there.

(The PIG barks. GEPPETTO jumps back at the sound.) Aah! Are you okay?

PIG

Never felt better in my life.

(The PIG barks several times.)

GEPPETTO

Why do you keep doing that?

PIG

Doing what?

Barking.

Because I’m a dog.

GEPPETTO

PIG

(GEPPETTO looks at him like he’s nuts. The PIG lets out a sigh.) I’m terrible at it, I know. But my dad says practice makes perfect.

GEPPETTO

But you’re a pig. You’re not supposed to bark. You’re supposed to squeal.

PIG

Tell that to my dad. I mean he became a dog. And so did his father before him. We come from a long line of dogs.

(The PIG barks. GEPPETTO backs away.)

GEPPETTO

Okay...

(approaches a group of FOXES who are grazing nearby) Um, excuse me. Have you see a little wooden boy run through... wait a minute. Foxes don’t graze.

(One of the FOXES looks up. She speaks with a teen girl’s voice.)

FOX

That’s because we’re cows.

GEPPETTO

Cows?? But you look like...

FOX

Check this out: moo. There, you see? Want to see me chew my cud?

GEPPETTO

No, no – that won’t be necessary.

(Another FOX looks up, the MOTHER of the first.)

FOX MOTHER

(to GEPPETTO)

We’re so proud of her. She won the all-country milking contest last year.

FOX

(embarrassed)

Mom!

(to FOX MOTHER)

GEPPETTO

Why are all the animals here trying to be something they’re not?

FOX MOTHER

Do you have any children?

GEPPETTO

Sort of.

FOX MOTHER

Well, then you’ll sort of understand this. If you let your children decide what they want to be, they might choose to be a... a...

62 Disney’s My Son Pinocchio JR.

(to himself) Train engineer.

A what?

GEPPETTO

FOX MOTHER

GEPPETTO

Nothing. (Just then, a HORSE wanders over.) Let me guess – you’re a duck.

HORSE

Are you blind? I’m a horse.

GEPPETTO

But all the other animals are pretending to be something they’re not, so I just assumed—

HORSE

I was disowned.

Oh.

GEPPETTO

HORSE

I could never get the whole quacking thing down, so my father basically kicked me out. I was a big disappointment.

GEPPETTO

Parents should just let their children grow up to be themselves–whatever they turn out to be.

(#31 BLUE FAIRY IN. GEPPETTO freezes as the BLUE FAIRY and her FAIRIES IN TRAINING poke their heads out from the wings.)

BLUE FAIRY

I swear I had nothing to do with that.

ROSA

He came to that all on his own?

(The BLUE FAIRY nods.)

ARANCIA

No magic?

(The BLUE FAIRY shakes her head.)

BLUE FAIRY

(a beat)

Except for the talking animals. I may have had something to do with them. But that’s all.

(#32 BLUE FAIRY OUT.The BLUE FAIRY throws back her hair in a smug toss and slips back off stage. Each of the FAIRIES IN TRAINING follows suit. GEPPETTO un-freezes.)

GEPPETTO

Listen, can I ask you something?

HORSE

Sure.

GEPPETTO

Have you seen a little wooden boy wandering through here? Answers to Pinocchio?

HORSE

(thinks for a minute)

Hard to say. A lot of boys pass through here on their way to Pleasure Island. Runaways always end up on Pleasure Island.

GEPPETTO

(with renewed energy)

Thank you.

(continues his journey looking for his missing son) Pinocchio! Pinocchio!!

(The ANIMALS scramble off-stage as GEPPETTO exits. STROMBOLI enters from the opposite side, carrying several MARIONETTES on his shoulders, since he travels nowhere without them.)

STROMBOLI

(dovetailing with GEPPETTO’s voice)

Pinocchio! Pinocchio!! (to a MARIONETTE)

Please tell me we’re not lost.

MARIONETTE

We’re not lost.

STROMBOLI

(tossing the MARIONETTES back over his shoulder)

You’re leading us in circles! (stomps downstage and sits on a nearby tree-stump, sulking.) It’s not fair! I wish... I wish just once I could get what I want!

(#33 BLUE FAIRY AND STROMBOLI. The BLUE FAIRY makes a grand entrance, followed by her FAIRIES IN TRAINING.)

BLUE FAIRY

(with full-on fairy goodness)

Who is it that wishes with such pain in his heart? (dropping the sweet act) Oh, it’s you.

SUE

Well, that was a wasted entrance.

STROMBOLI

You’ve come to grant my wish! I just want my little Pinocchio back.

ARANCIA

He’s not your little Pinocchio.

BLUE FAIRY

Now, girls, at least Stromboli wants him.

VIOLA

Unlike a certain toy-maker we know.

STROMBOLI

Yes, yes – I want him very much.

BLUE FAIRY

Your wish is granted. I’ll bring you your precious Pinocchio just as soon as he’s found. See, girls – sometimes things take care of themselves.

(#34 BRAVO STROMBOLI – REPRISE. The BLUE FAIRY exits along with her FAIRIES IN TRAINING. Once left alone, STROMBOLI is overjoyed. He pulls out two marionettes.)

(STROMBOLI finishes the reprise as he spins around and heads back in the direction from which he came.)

SCENE SEVEN: PLEASURE ISLAND

(#35 PLEASURE ISLAND – PART 1. The RINGLEADER and his ROUSTABOUTS enter, dressed in their outrageous outfits.)

Pleasure Island (Pt. 1)

from Disney's My Son Pinocchio JR.

Pleasure Island (Part 1)

(A mass of DELINQUENT KIDS enter.)

goes?

(The RINGLEADER waves his hands revealing the rest of Pleasure Island – a children’s paradise: part circus, part carnival. DELINQUENTS run wild everywhere.

(Three DELINQUENTS – MALVOLIO, BRUTTO and SPORCO – step forward.)

MALVOLIO

Isn’t this place great?

BRUTTO

No school, no bedtimes, and all the candy you can eat! (GEPPETTO enters, looking for PINOCCHIO.)

GEPPETTO

Excuse me…

MALVOLIO, BRUTTO, SPORCO

Well, well, well.

What have we here?

MALVOLIO

GEPPETTO

I’m looking for a little boy. His name is Pinocchio. Have any of you seen him?

MALVOLIO

(cutting him off)

Ah, ah, ah – that’s not how we ask a question on Pleasure Island.

BRUTTO

Grown-ups gotta ask questions—

MALVOLIO, BRUTTO, SPORCO Backwards!

GEPPETTO

They do? I mean, do they? I’m sorry, I just didn’t know...

MALVOLIO

I don’t wanna hear excuses.

BRUTTO

You’re not very good at listening, are you?

SPORCO

How hard is it to just follow the rules?

GEPPETTO

Rules? I just got here. No one knows the rules on their first day.

(An epiphany – this is how Pinocchio must have felt.)

SPORCO

Well then, we’ll tell you. Parents aren’t allowed on Pleasure Island!

BRUTTO

(sounding the alarm) There’s a parent in here!!

(All three DELINQUENTS point at GEPPETTO and chant.)

MALVOLIO, BRUTTO, SPORCO Parent! Parent! Parent!

(Other DELINQUENTS join in and start to crowd around GEPPETTO. Suddenly, GEPPETTO spies PINOCCHIO across the stage.)

GEPPETTO

(breaking free)

Pinocchio!

(startled)

PINOCCHIO

What are you doing here?

GEPPETTO

I’ve been looking everywhere for you.

PINOCCHIO

Why? I heard what you said about me! That I was a big disappointment! That you didn’t want me. Well, now I don’t want you!

DELINQUENTS

Yeah!!

GEPPETTO

(trying to sound fatherly)

Pinocchio, let’s go home.

PINOCCHIO

I’m already home! Hee Haw!

GEPPETTO

What’s the matter with you?

70 Disney’s My Son Pinocchio JR.

PINOCCHIO

I said – I’m already ho— HEE HAW!

(PINOCCHIO puts his hands over his mouth. What in the world?)

GEPPETTO

What’s happening to him?

RINGLEADER

All bad little boys make jackasses of themselves in the end!

(GEPPETTO looks back at PINOCCHIO, only now the boy has long donkey ears and a tail! Scattered other delinquents start sprouting ears and tails as well.)

DELINQUENTS

Hee haw! Help! What’s happening to me?

PINOCCHIO

Daddy! Daddy save me!

GEPPETTO

Pinocchio!

Hee Haw!

Dad-hee haw!

No! Pinocchio!

DONKEYS

PINOCCHIO

GEPPETTO

(#36 PLEASURE ISLAND – PART 2. The RINGLEADER casually slinks to center stage as the DELINQUENTS/DONKEYS panic behind him.)

(RINGLEADER):

(The

FAIRY and the FAIRIES IN TRAINING enter.) BLUE FAIRY

See how crazy things get when there are no fairies around? (to the FAIRIES IN TRAINING)

Speaking of “crazy”, who can explain this whole Pleasure Island donkey thing? (ROSA raises her hand.)

Rosa. ROSA

Well, first they lure in bad kids...

72

BLUE FAIRY

And then...? (ARANCIA raises her hand.)

Arancia.

ARANCIA

Then they turn them into donkeys...

BLUE FAIRY

And then...? (VIOLA raises her hand.)

Viola.

VIOLA

Then ship them off to hard labor.

BLUE FAIRY

Exactly.

SUE

Seems like a complicated way to breed livestock.

BLUE FAIRY (a beat)

True.

(A silhouette of a large ship of donkeys appears. The BLUE FAIRY turns to watch them as the silhouette of GEPPETTO races on to stop the ship, but he’s too late. The ship starts to pull away from the dock.)

GEPPETTO’S VOICE

Pinocchio! Pinocchio! Jump!

PINOCCHIO’S VOICE

Dad-hee-haw!

(#37 KERPLUNKS. PINOCCHIO jumps into the water. GEPPETTO jumps in after him. They flounder in the water together.)

VIOLA

They’re going to drown.

We have to help them!

Yeah!

ARANCIA

ROSA

BLUE FAIRY

Well, then – one of you use your magic.

(The FAIRIES IN TRAINING look to each other – who will do it? SUE steps forward and waves her wand. #38 THE WHALE. Suddenly, we see a huge silhouette whale begin to swim across the stage.)

VIOLA, ARANCIA, ROSA

Sue!

You sent them a whale?

BLUE FAIRY

(#39 GULP. The whale opens its enormous mouth and swallows both PINOCCHIO and GEPPETTO. SUE shrugs her shoulders.)

SUE

What? I saved them, didn’t I?

(The BLUE FAIRY and the FAIRIES IN TRAINING exit.)

SCENE EIGHT: INSIDE THE WHALE

(Dripping sounds. GEPPETTO emerges, soaking wet and covered in seaweed.)

GEPPETTO

Oh my goodness! Pinocchio!

(pulls PINOCCHIO from offstage, cleans him off, and finds that he is no longer part donkey)

You were a donkey. How—?

PINOCCHIO

When I jumped into the ocean, the donkey part just washed away.

GEPPETTO

(hugging him tightly)

Oh, Pinocchio, I thought I’d never see you again.

PINOCCHIO

I thought that’s what you wanted.

GEPPETTO

While you were gone, I learned a few things. And I promise if we get out of this whale, everything will be different.

74 Disney’s My Son Pinocchio JR.

PINOCCHIO

How will we get out of this whale?

GEPPETTO

(looks around at their predicament)

I don’t know. It’s my fault we’re stuck in here. And you shouldn’t have to pay for my mistakes. You should call to the Blue Fairy and wish for her take you home. And while you’re at it, wish for a new dad too. I don’t know how you could ever forgive me.

PINOCCHIO

That’s what families do.

(#40 GEPPETTO AND SON – WHALE REPRISE.)

PINOCCHIO:

(Music continues under dialogue.)

PINOCCHIO

Wait! I’ve got it! We just need to tickle the back of his throat! Then he’ll sneeze us out!

GEPPETTO

It’s too high – we’ll never be able to reach it.

PINOCCHIO

I’ve got an idea! Come on! Ask me a question. Anything.

GEPPETTO

Why?

Just do it.

PINOCCHIO

GEPPETTO

Okay... what is your name?

PINOCCHIO

My name is Luigi. (GEPPETTO looks at him strangely. What is Pinocchio up to? Just then, PINOCCHIO’s nose starts to grow.) Ask me another.

GEPPETTO

How many toes do you have?

PINOCCHIO

Two hundred. (his nose grows even more) We’re almost there! One more question!

GEPPETTO

Uh... Uh... Who’s the best father in the world?

PINOCCHIO

Oh – uh...

Say me.

But uh...

GEPPETTO

PINOCCHIO

GEPPETTO

It’s okay, you have to lie. Now, who’s the best father in the world?

PINOCCHIO

You are!! (GEPPETTO laughs with PINOCCHIO as his nose grow long enough to tickle the back of the whale’s throat.) Okay, hold on – here we go!

(A loud, pre-sneeze breathing starts. #41 WHALE SNEEZE/HOME AGAIN. As the whale sneezes, it disappears and GEPPETTO and PINOCCHIO find themselves back home.)

SCENE NINE: THE TOY SHOP

GEPPETTO

Home at last.

PINOCCHIO

Can I play with the trains?

GEPPETTO

(laughs)

Of course. I’ll play too.

(A figure steps out into the light. It is STROMBOLI!)

STROMBOLI

Not so fast.

(GEPPETTO and PINOCCHIO are startled.)

GEPPETTO

What are you doing here?

STROMBOLI

The Blue Fairy brought me.

(The BLUE FAIRY steps out next to him.)

BLUE FAIRY

I have good news, Geppetto. Since you didn’t want Pinocchio, and Stromboli does, I’m granting two wishes at once.

(The FAIRIES IN TRAINING applaud.)

STROMBOLI

See? The puppet is mine!

(STROMBOLI reaches for PINOCCHIO.)

PINOCCHIO

Daddy!

(GEPPETTO quickly pulls him out of harm’s way.)

GEPPETTO

Don’t worry, Pinocchio, you’re not going anywhere. (to STROMBOLI)

You can’t have him.

BLUE FAIRY

I don’t understand. You didn’t want him. We signed a contract.

(THE BLUE FAIRY reaches out and the FAIRIES IN TRAINING hand her the contract.)

GEPPETTO

Well, he can have something else. (to STROMBOLI)

Here – look at this! It’s very valuable. (STROMBOLI shows no interest in the item. #42 SINCE I GAVE MY HEART AWAY – PART 1.) Or this. Or this. Take anything. Take everything.

Since I Gave My Heart Away (Part 1)

(FAIRIES IN TRAINING):

untilyougiveyour

‰ j

Butifyou takemy

sonfromme,

STROMBOLI

How touching. But I want the boy!

(STROMBOLI lurches forward and grabs PINOCCHIO.)

PINOCCHIO

Daddy!

(GEPPETTO tries to stop him, but STROMBOLI quickly sidesteps him. He hurries downstage, pulling PINOCCHIO after him.)

GEPPETTO

Wait! Come back! Pinocchio! Blue Fairy, please. Please help me.

BLUE FAIRY

If only there was something I could do...

(GEPPETTO is crushed.)

80 Disney’s My Son Pinocchio JR.

There

Grant me one last wish.

(Music continues under dialogue. The BLUE FAIRY looks over at STROMBOLI, who is still struggling with PINOCCHIO. She then looks back to GEPPETTO. What to do?)

PINOCCHIO

(to the BLUE FAIRY)

No, don’t do that. I’ll go. I’ll do what you want. Don’t hurt my dad.

ARANCIA

He’s so brave.

And truthful.

And unselfish.

VIOLA

ROSA

SUE

(to the BLUE FAIRY)

Where have I heard those words before?

BLUE FAIRY

(getting it)

Thank you, girls. That’s just the idea I needed.

(The BLUE FAIRY waves her wand and a swirl of light and sparkles starts to rain down on PINOCCHIO. STROMBOLI steps back.)

STROMBOLI

What— what’s happening?

(to the BLUE FAIRY)

What are you doing?

(PINOCCHIO transforms into a real boy. GEPPETTO is in awe.)

PINOCCHIO

I’m real! I’m a real boy!

STROMBOLI

A real boy? Who needs a real boy!? No one will pay to see a real boy!

BLUE FAIRY

Then you don’t want him?

STROMBOLI

No! I’m a puppet-master, not a parent. (storms offstage)

That’s the last time I do business with a fairy!

(#43 SINCE I GAVE MY HEART AWAY – PART 2. And STROMBOLI’s gone. The BLUE FAIRY tears up the contract.)

BLUE FAIRY

Dearest Geppetto, what good would it do making Pinocchio a real boy if he did not have a real father to come home to?

(GEPPETTO stands and starts to run towards PINOCCHIO, who in turn runs to GEPPETTO. They embrace.) And my perfect record’s intact.

(The FAIRIES IN TRAINING applaud as the music swells, and we step into the big finish.)

Bows from Disney's My Son Pinocchio JR.

glossary

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

author: A writer of a play or musical. A musical’s authors include the book writer (also known as a playwright), 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 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 stage within view of the audience.

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

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 where 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.

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 furthest 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.

Credits & Copyrights

Content

Disney Theatrical Group: Ken Cerniglia, Adam Dworkin, Colleen McCormack, Lisa Mitchell, Will Murdock, David Redman Scott

iTheatrics: Derek Bowley, Susan Fuller, Marty Johnson, Steven Kennedy, Timothy Allen McDonald, Lindsay Wiener

Designer

Kevin Yates

Disney’s My Son Pinocchio JR. was workshopped at StarStruck Performing Arts Center in Stuart, Florida, and at iTheatrics in New York City, directed by Marty Johnson.

Find a complete list of Broadway Junior musicals at broadwayjr.com, School Edition and full-length musicals at MTIShows.com and Disney stage titles at DisneyTheatricalLicensing.com

Disney’s My Son Pinocchio JR. Actor’s Script © 2012 Disney Enterprises, Inc. Music and Lyrics © 2000, 2012 Walt Disney Music Company (ASCAP)/© 2006, 2012 Grey Dog Music (ASCAP) except Music and Lyrics from the film Pinocchio by special arrangement with Bourne Co. (www.bournemusic.com) © 1940 Renewed by Bourne Co.

My Son Pinocchio JR. and Disney’s My Son Pinocchio JR. are trademarks of Disney Enterprises Inc. Broadway Junior, The Broadway Junior Collection, Family Matters, and ShowKit are registered trademarks of Music Theatre International. All rights reserved. Unauthorized duplication and use is prohibited.

88 Disney’s My Son Pinocchio JR.