to 5
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. 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, “No time to think about it, say yes!” and your director wants you to stress the words “say yes,” underline them 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.
1 2 4 3 5 6 8 7
Draw stick figures 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 finding your lines on the page!
Really?
VIOLET
JOE
See what happens when you actually talk to me?
VIOLET Joe, you’re the best.
JOE
I’m the best. Okay, move fast, Joe. Violet, have dinner with me. No time to think about it, say yes!
VIOLET
Oh Joe. I think you’re a great guy...
JOE
No, no, no, not the “great guy” speech. Give me one good reason why you won’t go out with me.
VIOLET
I’m a one-man woman. And I had my one man. (#21 – LET LOVE GROW begins.)
LET LOVE GROW
(VIOLET:) Sometimes it seems like he was here a moment ago, sometimes it seems like he's been gone a lifetime. JOE: I know. But isn't it time you found something more to look forward to than just showing up here every day?
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
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.
Always be quiet backstage. And keep in mind, if you can see the audience, they can see you, so stay out of sight.
HAVE FUN!
9 to 5 JR. synopsis
Early in the morning in 1979, the whole world is getting ready for work (9 To 5). We meet VIOLET NEWSTEAD, a single mom up for a promotion at her company, Consolidated, and her son, JOSH. DORALEE RHODES, an ambitious country girl, also works at Consolidated. Her husband, DWAYNE, is supportive of her career. JUDY BERNLY, overdressed
and in the process of a divorce, is preparing for her first day on the job.
In the Office Bullpen, secretaries MARIA DELGADO, KATHY, and MARGARET watch Judy arrive. Violet introduces herself, and Judy hugs her, confessing that she’s had a hard time lately in her personal life. Violet advises her to concentrate on work. Violet deduces that Judy has no office experience, and Judy admits that she’s been a stay-at-home wife –until recently, when her husband left her. Violet decides to show Judy
the ropes around the office (Around Here).
Judy meets ROZ KEITH, the boss’s administrative assistant, who is a strict rule follower. Violet explains to Judy that their boss is a difficult man and then remembers that he asked her to get his wife a present. Violet commandeers Judy’s scarf for the gift just as Doralee introduces herself. Though Doralee’s very friendly, Violet informs Judy that she isn’t well liked (Back To Work!).
Violet introduces Judy to MR� FRANKLIN HART in his office, where he takes the scarf for his
to 5 JR.
wife from Violet. They go back to work. Doralee enters to take dictation. Mr. Hart gives Doralee the scarf, insisting they should date each other, even though they’re both married and Doralee has rejected him time and time again. Unaware of her husband’s behavior, MISSY HART enters with cruise brochures, excited about the
Violet, Doralee, and Judy team up to take on Mr. Hart. 9 to 5 JR. pilot production, Musical Mayhem Productions
Mr. Hart promotes Bob Enright. 9 to 5 JR. pilot production, Musical Mayhem Productions
to 5
possibility of a vacation.
In the Xerox room, Judy has lost control of the machine. Though Mr. Hart criticizes her and cracks jokes to an uncomfortable BOB ENRIGHT, Violet steps in to help her, and Judy resolves to try (I Just Might). Judy’s ex-husband, RICK BERNLY, delivers the final divorce papers.
Josh wants Violet to stand up to Mr. Hart, but Violet has her eyes on a promotion. Doralee laments to Dwayne that her coworkers don’t treat her kindly, and he encourages her to be herself.
The next day in the Office Bullpen, Maria receives the mail boy’s paycheck by mistake and discovers that he makes much more money than she does. JOE, the office accountant, asks Violet out on a date, but she’s hesitant. Roz sends a memo forbidding employees to discuss salary information, and Doralee laments
that no one in the office will give her a chance (Backwoods Barbie). Violet is furious when Bob Enright is promoted in her stead.
Doralee discovers that Mr. Hart has been telling people that she is his girlfriend, and that’s why the office workers have been treating her coldly. Roz announces that Maria has shared salary information, and Mr. Hart fires her. Margaret, Kathy, Maria, and Judy vent about what they’d like to say to Mr. Hart (Hey Boss).
Violet and Judy apologize to Doralee. They’re all discussing Mr. Hart when he pops into the kitchen to ask Violet for coffee. She’s just returned from doing the office grocery shopping, is angry and distracted, and accidentally puts rat poison into Mr. Hart’s coffee instead of sweetener. The coffee doesn’t smell right, so Mr. Hart hands it to Roz, who dumps it out and makes him a fresh cup. Violet notices that the rat poison and the sweetener look almost identical,
Doralee, once again, refuses Mr. Hart. 9 to 5 JR. pilot production, Musical Mayhem Productions
Judy convinces herself that she is capable of working at Consolidated. 9 to 5 JR. pilot production, Musical Mayhem Productions
and she thinks she’s poisoned Mr. Hart. In a panic, she calls for Doralee and Judy, and they come up with a plan while Roz eavesdrops on their conversation. Roz heads off to report what she heard to Mr. Hart.
As Judy is locking up at Mr. Hart’s house, she’s confronted by Rick. He wants her to take him back, but she turns him down (Get Out And Stay Out).
Violet, Doralee, and Judy sneak into Mr. Hart’s office after hours, and he confronts them, claiming that they tried to kill him and threatening to call the police. Doralee ties him up with the phone cord. They take him back to his house and tell him exactly what they think of him (Shine Like The Sun).
The next day in Mr. Hart’s office, Violet, Doralee, and Judy search and discover that he’s been stealing money from the company. Doralee encourages Violet to take Mr. Hart’s position as CEO (One Of The Boys). Roz is shocked that she’s been assigned to the Lester Language Immersion Center (5 To 9), while Violet and the others keep improving office life and re-hire Maria (Change It)
Violet confesses everything to Joe, who offers to help her (Let Love Grow).
Violet and the others finally find concrete evidence of Mr. Hart’s crimes just as he escapes and shows up at the office. During their standoff, RUSSELL TINSWORTHY, chairman of the board, arrives to congratulate the office on the 20 percent rise in productivity. Violet, Doralee, and Judy explain to Mr. Tinsworthy that they do all the work while he takes the credit, and they confess to the events of the last two weeks. Mr. Tinswothy gives Mr. Hart a promotion – to the office in Bolivia – while Violet gets Mr. Hart’s old job as CEO (Finale)
to 5 JR.
The office workers think about giving Mr. Hart a piece of their minds in “Hey, Boss.” 9 to 5 JR. pilot production, Musical Mayhem Productions
Mr. Tinsbury offers Violet the CEO position. 9 to 5 JR. pilot production, Musical Mayhem Productions
9 to 5 JR. characters
(in order of appearance)
Josh
Violet Newstead
Doralee Rhodes
Dwayne
Judy Bernly
Maria Delgado
Kathy Margaret
Ensemble Soloists 1–4
Roz Keith
Franklin Hart
Missy Hart
Bob Enright
Rick Bernly
Joe
Men
Employees
Choir
Russell Tinsworthy
SCENE 1: VARIOUS LOCATIONS
(The year is 1979. It’s early in the morning. The familiar vamp from “9 To 5” begins to pound. #1 – 9 TO 5 begins.)
9 to 5
9 TO 5
(DOLLY VOICEOVER: "Well, hey there everybody! When I hear that sound, it takes me back to a time before computers and cell phones. Back when apples and blackberries were somethin' I'd pick behind the barn.")
(DOLLY VOICEOVER: "Well, we're goin' back to 1979 when a gallon of gas ran you about 86 cents, shag rugs, pet rocks, and disco were the hottest things around. There was no such thing as ofÞce assistants. We were just secretaries!")
(DOLLY VOICEOVER: "And it seemed like your whole life existed between the hours of 9 to 5." The stage comes to life with people getting ready for work.)
Tum ble out ta bed and I stum ble to the kit chen.
Pour my self a cup of am bi tion.
Yawn and stretch and try to come to life.
(Enter VIOLET, 40s, smart and efÞcient, followed by her son, JOSH, who skateboards on.)
JOSH: Mom, where are my clean socks?
VIOLET: In the dirty clothes hamper.
JOSH: Why would my clean socks be with the dirty clothes?
VIOLET: Because your clean socks are dirty! C'mon, we're running late!
Don't
late 20s, cute country gal, warm and personable with a ready smile, enters with her husband, DWAYNE.)
Slightly Relaxed (JUDY enters. She is mid-30s, a bit meek. She is totally overdressed with a hat, a silk scarf, and a purse.)
JUDY:
Dreams and plans are in the ma king.
swear
ENSEMBLE:
worked be fore. but some how
learn the ropes, I guess
learn the ropes.
ENSEMBLE: -
JUDY, DORALEE, VIOLET: (ENSEMBLE:)
Nine to Þve you can lose your mind
# # # 114
nine to Þve. (ALL:) w w w & # # # 116 ‰ J
Nine to Þve!
SCENE 2: OFFICE BULLPEN
(#2 – INTO THE BULLPEN begins.)
(A little anthill of activity. The rhythm of the typewriters and key punch machines. JUDY enters. She stands beside a desk, waiting for someone to notice her. VIOLET is talking to secretaries MARIA DELGADO, young and vibrant; KATHY, the gossip; and MARGARET, the war horse.)
VIOLET
Good Lord. What is that?
KATHY
(glances over at JUDY)
New girl. First day.
She’s in your section.
MARGARET
VIOLET
My section? Why are they always in my section?!
MARIA
Just lucky I guess.
VIOLET
Oh brother. We’re going to need a special locker just for the hat!
(crossing to JUDY, extending her hand) Hi, I’m Violet Newstead. I’ll be training you here at Consolidated.
(JUDY wraps VIOLET in a hug. VIOLET is clearly uncomfortable.)
(VIOLET)
Oh.
JUDY
Sorry. Nervous hugger. Judy Bernly. This is quite a big day for me.
VIOLET
Big day, big hat.
JUDY
Thank you. I’m so sorry I’m a little late. I just had to move into a new apartment. Had to sign a check. Boy, those things are complicated. I just had some personal problems that—
VIOLET
You just wanna push right down inside and pretend it never happened. That’s the way, just shove those feelings right down. (back to business)
Okay, this will all be yours. (sets JUDY at a desk)
Thrilling, isn’t it? So, let’s get started with a typing test. I’m going to dictate and you type.
(VIOLET picks up a memo and begins to read rapidly.)
From Franklin Hart, President, Consolidated Industries. To the employees: when planning for your retirement, why diversify? And...
(VIOLET stops and looks over at JUDY, who is barely managing to hunt and peck.) It works a lot better with paper in the typewriter.
JUDY
Oops.
VIOLET
Where did you say you worked before?
JUDY
Uh... I may have exaggerated the teensiest on my resume. (pronounced reh-zoom)
VIOLET
You mean resume? (pronounced reh-suh-may)
JUDY
I’ve never really had a job in an office.
VIOLET
No kidding.
JUDY
You’re not going to tell them, are you?
VIOLET
I sorta have to...
Yeah.
(starts to get upset)
JUDY
Well, I’m sorry, but I wasn’t sure where on my resume to write, I have no skills because I’ve spent my entire adult life taking care of a husband who just dumped me for a girl named Mindi. With an “i”!
(JUDY sobs.)
VIOLET
Alright, come on now, don’t... cry.
JUDY
Is this where you call security?
(VIOLET takes a moment, considers.)
VIOLET
No.
(reluctantly)
This is where I tell you I love a challenge, and welcome to Consolidated.
(JUDY goes in for a hug.) Not a hugger.
JUDY
Okay. Well, thank you. Thank you so much. I just hope I can do the job.
VIOLET
Relax, I’ve been at Consolidated for fifteen years.
(#3 – AROUND HERE begins.)
Around Here
AROUND HERE
Bustling (VIOLET:) You'll get it. You've got the very best training you. JUDY: Really? Who? VIOLET: Me!
You got ta 4x (VIOLET:) (vox last x)
try, hon ey. 'Cause each
mis take means they're -
know what to do, you got ta
make mis takes a round...
(ROZ KEITH, company snitch and second only to the boss, enters.)
ROZ: Vio-let, oh, Vio-let...
VIOLET: Judy, this is Roz Keith, Mr. Hart's administrative assistant.
ROZ: Welcome to our happy little family. Vio-let, I've been meaning to talk to you about Mr. Hart's rules regarding ofÞce decor. No personal items on the desk. We mustn't look cluttered and sloppy. I've typed up a memo. You can post it on the bulletin board.
VIOLET: Thanks, Roz. I know just where to stick it. (ROZ scurries away.) Dear Roz is Mr. Hart's administrative eyes, ears, nose, and throat. (VIOLET tosses the memo in the trash can.)
No time for an y œ œ œ Œ Ó here! ¿ ¿ ¿ ¿ j ¿ ‰ Œ per son al wor ries.
VIOLET: (ENSEMBLE:) ¿ ¿ ¿ ¿ Œ Œ mind the dress code.
No laugh ing, no jokes, and œ œ œ Œ Ó here!
Is that (VIOLET removes Judy's hat.)
SOLO
No chats! No snacks! No
clut ter on the desk!
hust le, got ta bust le, got ta - - - -
scoot,
here. Do what
# # #
fool a round (ALL:)
VIOLET: ¿ ¿
¿ ¿ Œ Get it? Got it!
JUDY: VIOLET: ¿ Œ Ó Good!
(Everyone goes back to work.)
(VIOLET)
This whole section is divided into two zones, each with its own supervisor. As senior supervisor, the other supervisor, Bob Enright, reports to me. I report directly to Mr. Hart.
JUDY
What’s he like?
VIOLET
Think of a peacock crossed with a rabid dog. But with a lower I.Q.
(beat)
Ooo... I forgot, Mr. Hart asked me to pick up a present for his wife. How attached are you to that scarf?
JUDY
(looking down at her scarf)
Well... It was a present from my husband...
VIOLET
Sure, way too many memories. Let me take care of it for you.
(VIOLET grabs the scarf right off JUDY’s neck. As they continue to Hart’s office, they bump into DORALEE, who greets them both with a big smile.)
DORALEE
Well, hey, who’s this here?
VIOLET
Judy Bernly. First day.
DORALEE
Hey, Judy. I’m Doralee. I hope everyone’s been treating you real friendly and showing you around. If there’s anything I can do for you, just gimme a holler.
(DORALEE exits.)
VIOLET
We don’t like her. (#4 – BACK TO WORK! begins.)
SCENE 3: HART’S OFFICE
(FRANKLIN HART—smarmy, pompous, his own biggest fan—is sitting behind his intimidatingly large desk. VIOLET stands waiting to be acknowledged, JUDY hovering behind her.)
Mr. Hart.
This is Judy Bernly, new employee. (HART takes JUDY in.)
A new girl?
HART
VIOLET
Mr. Hart, I really wish you wouldn’t refer to...
HART
Let me tell you my philosophy of business, Julie.
Judy.
JUDY
HART
Whatever. In a word: Teamwork. Everyone pulling together.
JUDY
I’m very happy to be part of the team.
HART
You see that, Violet? That’s the attitude I’m looking for. By the way, is that the present for my wife?
VIOLET
Yes, it is, but I want to remind you that my job description says nothing about doing your personal—
HART
Violet! I’m trying to explain to Jody here—
Judy.
JUDY
HART
—how we’re all a team! I expect an employee, especially one who wants to be promoted to management, to show a little flexibility and cooperation. You savvy?
VIOLET
I savvy.
(Seething, VIOLET hands over the scarf.)
HART
(on intercom)
Doralee, would you come in here, please. (to VIOLET)
Now be a good girl and get my coffee. No sugar, just some Skinny ’N’ Sweet.
VIOLET
Yes, sir.
(DORALEE enters with a dictation pad as JUDY and VIOLET leave.)
DORALEE
Should we get back to that dictation, sir?
HART
First, I want to apologize for my behavior yesterday. I got a little carried away.
DORALEE
(good-naturedly)
That’s alright, I’ve been chased by swifter men than you and I ain’t been caught yet.
HART
Here’s a little something to say I’m sorry. I picked it out myself. (He hands her the scarf.)
DORALEE
That’s very nice.
HART
That’s very nothing! I’m a rich man. I’ve got my checkbook right here. You just say the word and you could write your own figure!
DORALEE
I could do that now, Mr. Hart; I sign your name better than you do. (beat)
Let’s get back to the letter.
HART
Doralee, we would be great together!
DORALEE
Mr. Hart, please, I’m a married woman.
HART
And I’m a married man! That’s what makes it so perfect!
MISSY Frank?
(The door opens, and Hart’s wife, MISSY, walks in.)
Mrs. Hart!
DORALEE
HART
Missy, what are you doing here?
MISSY
Oh Frank, don’t get mad. I just was dying to show you some of these brochures for cruises I picked up.
How are you, Mrs. Hart?
DORALEE
(VIOLET re-enters with Hart’s coffee. She instantly sees the scarf.)
MISSY
Just fine, Doralee. My, that’s a lovely scarf you’re wearing.
VIOLET
Yes, Doralee. What a lovely scarf you’re wearing.
DORALEE
It was a present from your husband.
MISSY
Oh Frank, how thoughtful of you.
DORALEE
Nice seeing you, Mrs. Hart.
(DORALEE and VIOLET exit. MISSY brings the brochure to HART.)
MISSY
Here’s my favorite. An Italian line. Four weeks of sunshine—
HART
Four weeks? Are you out of your mind?
(HART walks MISSY to the door, ushering her out.)
MISSY
Oh, please, Frank. Let’s go to Europe. I’ve always wanted to see the pyramids.
(#5 – INTO THE XEROX ROOM begins.)
(MISSY exits, followed by HART.)
SCENE 4: THE XEROX ROOM
(Paper is all over the floor. JUDY is trying desperately to clean up the mess. HART enters with BOB ENRIGHT.)
What is going on here?
HART
JUDY
I’m sorry, sir, it was moving too fast. Paper started flying everywhere and...
HART
Weren’t you checked out on this thing?
(VIOLET walks in as HART is talking and sees the mess.)
VIOLET
Don’t worry about it. I’ve got it.
HART
A total moron could operate it. Right, Bob?
VIOLET
Come on, it’s her first day.
HART
Well, it will be her last if she doesn’t get it together. (turns to BOB)
Hey, Bob. I got a good one for ya – what do you call a woman in the workplace?
BOB
I give up. What?
A secretary!
Good one.
Funny, right?
HART
BOB
HART
(As HART guffaws, BOB chuckles uncomfortably. Both men exit. JUDY resumes cleaning up and starts to cry.)
JUDY
I’m not sure I’m cut out for this.
VIOLET
Look, you can do this. But here’s the deal... you can’t let them see you cry. They see tears, they go in for the kill. Repeat after me, I will not cry.
JUDY
I will not cry.
(JUDY starts to cry again.)
VIOLET
Keep working on it.
(#6 – I JUST MIGHT begins.)
JUDY: You're so nice. (VIOLET indicates she doesn't want this spread around. JUDY is left alone.)
Put ting fear and doubt a
(Judy's husband, RICK, an average middle-aged guy, enters.)
RICK: Hey, babe.
JUDY: Rick. What are you doing here?
RICK: Your sister told me you got a job. 3
(RICK:) (looks at the mess) Doesn't look like it's exactly up your alley.
JUDY: Oh no, it's completely up my alley. I own this alley! I'll be done in a minute. Do you want to grab a bite to eat? Maybe talk?
RICK: I can't stay. Mindi's waiting in the car. (Her face falls.) These are the Þnal divorce papers. You need to sign them and give them to your lawyer.
JUDY: Final? That sounds so... Þnal.
RICK: Bye, Judy.
(Lights come up on JOSH and VIOLET on another part of the stage. VIOLET is folding laundry.)
JOSH: Mom, why do you let him get away with it?
VIOLET: 'Cause he makes a decision on the promotion tomorrow and until then I'm playing the good girl.
JOSH: You need to stop thinking about work all the time and start dating.
VIOLET: Josh, you've got to stop worrying about my social life. It's a little weird.
(Lights come up on DORALEE and DWAYNE, who are getting ready for dinner.)
DORALEE: I'm as nice as I know how to be down at that ofÞce and everyone still treats me like a hound dog with rabies.
DWAYNE: Forget about them, honey. Who gives a hoot what they think?
DORALEE: But Dwayne, it hurts my feelin's. Maybe I should try to dress more like them?
DWAYNE: You don't change one thing, 'cause you're perfect. You go back there tomorrow and show 'em what a great gal you are.
the one that keeps me
fool.
I'll just try to right what's
wrong,
JUDY, DORALEE, VIOLET:
And just keep on keep in'
But I just might make it
SCENE 5: OFFICE BULLPEN
(#7 – PUNCHIN’ IN begins.)
(VIOLET, KATHY, JUDY, and MARGARET are chatting.)
KATHY
I thought I’d never get here today. I had to drop the baby off at my mom’s and pick up a ham for dinner and I ended up dropping the ham off at my mom’s and leaving the baby at the supermarket.
(MARIA rushes in.)
MARIA
Look at this! By mistake I just got Eddie’s paycheck instead of mine. He’s getting paid twice what I am. The mail boy!
MARGARET
Boy is the operative word here.
JUDY
Well that doesn’t seem fair.
(JOE, the office accountant, enters. He’s smitten with VIOLET.)
MARGARET
Heads up, hunky accountant at eleven o’clock!
KATHY
Word in the ladies’ room is that he has the hots for you!
VIOLET
Stop. I’m a widow.
Hey, Violet.
JOE
MARGARET
I think I hear my typewriter calling.
(KATHY, MARGARET, MARIA, and JUDY return to their desks.)
JOE
Have you had a chance to take care of the Ajax file?
VIOLET
Here it is all signed and sealed by Hart.
JOE
Violet, you’re the best. And I’m only saying that because I want you to like me, I mean I’m not just saying that because I want you to like me, never mind, change the subject, Joe, you idiot... Well TGIF, huh?
VIOLET
Woo...
JOE
Hey, you know what I was thinking?
VIOLET
Time to get back to work?
JOE
How about dinner tomorrow night?
VIOLET
I need to spend the weekends with my son. Single parent, you know—
JOE
Bring him. I’m fantastic with resentful adolescent boys who don’t think their moms should date.
VIOLET
Joe. It’s lunchtime.
So?
JOE
VIOLET
Tell you what, I’ll think about it.
JOE
Don’t think about it. Just do it...
(JOE leaves as VIOLET thinks aloud.)
VIOLET
Just do it. That would be a great slogan for something. (ROZ enters as everyone else in the office except JUDY and VIOLET leave for lunch.)
ROZ
(rushes over to VIOLET)
Vio-let, did you receive my memo on employees sharing salary information?
VIOLET
Yes, Roz, I tore right through it. Did you receive my memo regarding superfluous memos?
ROZ
No. Wait, what?
(VIOLET leaves ROZ and walks toward Judy’s desk. ROZ exits as DORALEE enters.)
DORALEE
Hey, Violet, how about you and me grab a bite—
VIOLET
Not today. Sorry.
(VIOLET leaves. DORALEE approaches JUDY.)
DORALEE
Hey, Judy, I was wonderin’ if you’d like to have lunch with me today. There’s the cutest little Italian place not a hop, skip, and a jump from here.
JUDY
I’d really like to, Doralee, but—
DORALEE
But what? What did they say to you about me?
JUDY
Nothing. Really.
DORALEE
Well, they must have said something. I’m not a fool. I can see what’s goin’ on around here.
JUDY
Doralee, I’m new here. I’m just trying to go with the flow. (#8 – BACKWOODS BARBIE begins.)
BACKWOODS BARBIE
(JUDY looks like she is about to invite DORALEE to join them. VIOLET appears and beckons JUDY from the side of the stage.)
VIOLET: Judy, we have lunch reservations. For two.
JUDY: Sorry.
(JUDY follows VIOLET off, leaving DORALEE alone.)
# # # # #
A tempo 3 Rall. -
get their feel ings w hurt.
SCENE 6: HART’S OFFICE
(#9 – ENRIGHT’S THE MAN begins.)
(BOB ENRIGHT celebrates his promotion with HART and the other MEN.)
HART
To Bob!
(The MEN all clap and pat BOB on the back. VIOLET busts into the room.)
VIOLET
You gave that promotion to Bob Enright instead of me? I trained him!
(BOB and the other MEN exit quickly.)
HART
Now, Violet, don’t fly off the handle. The company feels—
VIOLET
The company? It’s your decision. Just tell me why!
HART
He’s got a family to support.
VIOLET
And I don’t?
HART
I’ll tell you what I don’t need and that’s one of my girls preaching to me. I’m still the boss here. (as he sits in his chair)
I’m not going to sit here and take this! Violet, get back to work.
VIOLET
I’m going, but before I do, I have one more thing to say. Don’t you ever refer to me as your ‘girl’ again. I am no girl. I am a woman. W-O-M-Y-N! I am not your wife, your mother— (DORALEE comes in. VIOLET looks at her.)
Or even your girlfriend.
What?!
DORALEE
VIOLET
I am your employee and I expect to be treated equally, with a little dignity and a little respect!
DORALEE
What do you mean, girlfriend?
VIOLET
Oh, come off it, Doralee.
DORALEE
Who’s been saying that?
He has.
VIOLET
(VIOLET stalks out as HART backs away from a furious DORALEE.)
DORALEE
What!
Now, don’t get upset.
HART
DORALEE
That explains why everyone’s been treating me like that!
HART
Now wait a minute. I can explain.
DORALEE
This is the last straw! Up to now I’ve been forgiving and forgetting ’cause that’s the way I was brought up, but I swear, if you say another word about me, you and my fist are going to get know each other much better!
(DORALEE storms out as ROZ rushes into Hart’s office.)
ROZ
Mr. Hart, one of the girls committed a serious infraction. I overheard Maria Delgado trying to share salary information.
Get rid of her.
HART
ROZ
Well, sir, technically speaking that isn’t really possible...
HART
Fine, I’ll fire her myself.
(#10 – I’LL FIRE HER MYSELF begins. HART storms out, followed by ROZ.)
SCENE 7: OFFICE BULLPEN
(HART storms in. Everyone is watching as he crosses to Maria’s desk.)
HART
You’re fired!
MARIA What?
HART
I said you’re fired! Discussing salaries is against company rules.
There is a memo!
ROZ
MARIA
But Mr. Hart, you can’t fire me for...
HART
I can fire you anytime I want. I’m the boss. Grab your purse and get out of here before I call security. Now!
(HART turns and exits, followed by ROZ. MARGARET, KATHY, and JUDY cross to MARIA to comfort her, but MARIA is too angry to be sad. #11 – HEY BOSS begins.)
Hey Boss
HEY BOSS
MARIA: Hey Boss.
MARGARET: Hey Boss.
KATHY: Hey Boss.
KATHY: JUDY:
(#12 – TO COFFEE AREA begins. MARIA storms off with her belongings.)
SCENE 8: CONSOLIDATED COFFEE AREA
(VIOLET is carrying a grocery bag when DORALEE storms on.)
DORALEE
What is wrong with you! How could you believe I was dating that worm?
VIOLET
Well, I mean... aren’t you?
DORALEE
No! I don’t even like him.
VIOLET
Alright, okay, so I made a little mistake. (JUDY enters.)
JUDY
Violet, Hart fired Maria! You’ve got to do something!
DORALEE
I think I at least deserve a “sorry.”
JUDY
Doralee, I am sooooo sorry.
DORALEE
Not from you.
Alright! I’m sorry!
VIOLET
DORALEE
Well, it ain’t the sweetest apology I ever got but it’ll do.
JUDY
Can you believe he fired Maria just for discussing salaries?
DORALEE
Can you believe he told everyone I was his girlfriend?
VIOLET
Can you believe he gave that promotion to someone I trained? What a rat.
DORALEE
What a liar.
What a creep!
JUDY
(HART pops his head in.)
HART
Violet, my coffee. No sugar, just some Skinny ’N’ Sweet. (He exits.)
VIOLET
It’s not enough I have to do the shopping for the office— (as she takes things out of a bag)
Half and half, Skinny ‘N’ Sweet, rat poison, ant poison... I have to fetch his coffee, too! (pours coffee)
I swear one of these days he’s going to push me too far— (opens box)
—and then I’m going to really let him have it! (pours)
Then God help Mr. Hart because I won’t be responsible for my actions.
(VIOLET has opened the box and poured two teaspoons in Hart’s coffee. She’s so mad she isn’t paying full attention. She’s poured the rat poison into the coffee. HART marches in.)
HART
Violet, where’s my coffee?
(JUDY and DORALEE quickly exit. VIOLET walks over to HART and hands him the cup. HART says nothing.)
VIOLET
You’re welcome.
(VIOLET storms off. HART watches her exit and then brings the cup to his mouth. When he smells it, he grimaces. ROZ enters.)
HART
Violet can’t even make a decent cup of coffee.
ROZ
I’m so sorry, Mr. Hart. Here let me fix it and then I will bring it right to your office.
(HART hands the cup to ROZ and exits. ROZ dumps out the coffee in Hart’s cup and starts to remake it. VIOLET enters the coffee area with her own cup and goes to pour herself coffee. ROZ stares at her.)
Vio-let!!
Yes, Roz?
VIOLET
ROZ
Vio-let, I am very, very disappointed in you. The first thing I learned when I came to work for Mr. Hart was the joy of making coffee just the way he liked it.
VIOLET
Thank you, Mrs. Foldgers. (ROZ stalks out with the cup. VIOLET picks up the box of rat poison as if she is going to pour it into her coffee. She stops, looks at it for a second, and then picks up the Skinny ‘N’ Sweet box in her other hand. They are almost identical. VIOLET suddenly realizes her mistake. Holding both boxes in one arm, her knees go weak.)
Ohmygosh, ohmygosh, ohmygosh!
(yells out the door)
Judy!! Doralee!! Can you come in here please?
(DORALEE and JUDY enter.)
JUDY
What happened?
I poisoned Mr. Hart!
What!!!
Violet! How could you?
VIOLET
DORALEE
JUDY
VIOLET
Not on purpose! I thought the rat poison was the Skinny ‘N’ Sweet. I put it in his coffee! Look how similar the boxes are. Except for that little skull and crossbones in the corner they look the same!
DORALEE
Calm down and put those boxes away.
JUDY
A couple of teaspoons might not be enough to hurt him.
DORALEE
Heck, maybe he didn’t even drink it.
VIOLET
No, I’m going to go turn myself in!
DORALEE
Let me go check on him and then we’ll decide what to do. And if he hasn’t died, then we come back tonight to get rid of any evidence.
(VIOLET nods vigorously, nearly panicking. They exit as ROZ appears around the corner, having heard everything they just said. She gets a huge smile on her face and starts to exit.)
ROZ
Mr. Hart!! Mr. Hart!! I have something to tell you. (#13 – OUT OF COFFEE AREA begins.)
SCENE 9: HART’S OFFICE
(JUDY, DORALEE, and VIOLET, carrying flashlights, sneak into Hart’s office after hours.)
JUDY
You positive no one’s here?
DORALEE
Who works after five?
VIOLET
We’ve got to make sure there are no traces of the poison. I’m going to wipe up the coffee area in case I spilled.
JUDY
I’ll help you.
I’ll find the coffee cup.
DORALEE
(JUDY and VIOLET exit as DORALEE looks for Hart’s coffee cup. HART steps out from hiding and scares her.)
HART
Doralee, what a pleasant surprise.
DORALEE
Mr. Hart?!? What are you still doing here?
HART
Well, strychnine can be very hard on the system.
Strychnine?
DORALEE
HART
From when you all tried to kill me. Roz told me everything.
DORALEE
But Violet didn’t mean to, it was an accident!
HART
Guess I’m gonna have to call the cops.
DORALEE
Mr. Hart, I’m begging you. You’ll ruin our lives. Think of what you’re doing!
(He picks up the phone.)
Put down that phone or you’re gonna be sorry.
HART
Hey, I’m not the one that started this.
DORALEE
I’m not gonna let you do this!
(DORALEE tears the phone clear out of the wall and, using the cord, faster than a rodeo cowboy, hog-ties HART hand and foot.)
Violet, Judy, get in here!
(She pulls a handkerchief out of her purse and shoves it in his mouth as JUDY races in.)
JUDY
Ohhhhhh, Mr. Hart.
DORALEE
He knows everything. He was gonna call the police. Where’s Violet?
JUDY
Still cleaning up.
DORALEE
Watch him while I find her.
JUDY
(as soon as DORALEE is offstage) I’m so sorry about this, Mr. Hart.
(He mumbles through the handkerchief.) What?
HART
Gtisfcnrgnthiomymf.
JUDY
I can’t understand you. You have a gag in your mouth.
(She takes the gag out of his mouth.)
HART
Thankfully one of you has come to your senses. Now untie me so we can work this out.
Nooooooo, I can’t do that.
JUDY
HART
This cord is cutting off my circulation. I give you my word I’ll work things out with you three.
(JUDY begins to untie his hands.)
JUDY
Mr. Hart, I’d like to offer you my sincere apologies. This all is one big misunderstanding... (As soon as his hands are free, he pushes her out of the way and hops over to the phone. JUDY stumbles back.) But you gave me your word!
HART
I lied!
(HART picks up the phone and dials.)
Operator! Operator!!
(Realizing it’s disconnected, he slams it down.)
Well there’s nothing to stop me from driving to the police.
JUDY
Yes there is.
(JUDY jumps up and tackles HART. When he is back on the ground, she sits on him and re-ties his hands.)
HART
You’re as crazy as the other two.
(JUDY shoves the gag back into his mouth as DORALEE and VIOLET enter.)
DORALEE
Judy, what are you doing?
JUDY
I am taking care of business!
VIOLET
Well, congratulations but now what are we going to do?
DORALEE
I say we knock him out and leave town.
VIOLET
(to DORALEE)
I poisoned him, you tied him up, and she just tackled him to the ground and is sitting on him. We can’t just leave town and let him go. (beat)
We’ve got to get him out of the office.
DORALEE
Mrs. Hart’s just left for a four-week cruise, we could take him to his house.
VIOLET
Good idea. (#14 – SHINE LIKE THE SUN begins.) SHINE
LIKE THE SUN
(HART is Þnally able to spit out his gag.)
HART: Let me go! THAT'S AN ORDER!!!
VIOLET: We're not taking orders from you anymore.
JUDY: The tables are turning.
DORALEE: Memo to Franklin Hart: I am a human being!
(VIOLET pulls HART to a standing position, stuffs his gag back in, and walks him out of the ofÞce.)
(Once HART is gone, the ofÞce set also disappears. JUDY and DORALEE come downstage and sing to the heavens. As they sing, a CHOIR enters, ready to back them up.)
and em barr assed me, pro
(The CHOIR moves to one side, and Hart's bedroom is revealed with HART gagged and tied to the bed.)
# # # 91 w w w Sun!
(#15 – TO OFFICE begins.)
SCENE 10: HART’S OFFICE
(VIOLET, DORALEE, and JUDY are there with ROZ.)
ROZ
I don’t understand, did you give him my message?
DORALEE
Yes I did, Roz, I told him.
Well, where is he?
ROZ
DORALEE
I know he hasn’t gone to lunch because his coat is still here.
ROZ
Tell him to call me the minute you see him.
VIOLET
No problem, Roz, I’m sure he’s just tied up somewhere. (ROZ exits.)
DORALEE
We can’t keep this up. We’re going to have to do something about her.
VIOLET
Forget about Roz, we’ve got to find something we can use to blackmail Hart. Then we make a deal. We don’t turn him in and he doesn’t turn us in. There’s gotta be something here. Help me start looking.
(VIOLET, JUDY, and DORALEE search Hart’s office.)
DORALEE
There’s no way we’re gonna hold Roz at bay for much longer.
JUDY
Let’s send her to a language immersion center! There’s one in Denver you have to live at for a month.
VIOLET
Not bad. Hart writes her a memo about a major expansion. He needs executives who speak French.
JUDY
Do you think she’d go?
DORALEE
(grabbing pen and paper)
Are you kidding? She’d put jam in her ears and tie herself to an anthill if Hart asked her to. I’ll just write the memo and sign it from Hart.
VIOLET
Well, here’s something we might be able to use.
What is it?
DORALEE
VIOLET
Two sets of accounting books. Looks like Hart’s been stealing from the company!
JUDY
No way. No head of a company would ever fake the books and steal from its stockholders.
DORALEE
We’re gonna have to check his bank accounts for a start. Here’s where faking his signature is gonna come in handy.
VIOLET
And we’ve got to get it all done before Mrs. Hart gets back.
DORALEE
In the meantime, we’ve just gotta keep the office running and pray we don’t get caught.
JUDY
Hey, wouldn’t it be funny if we posted some changes from Hart?
VIOLET
Why can’t we?
What do you mean?
DORALEE
VIOLET
Why can’t we run the office the way we want to?
JUDY
Like getting a whole hour for lunch?
VIOLET
Think bigger.
An hour and a half?
JUDY
VIOLET Bigger!
DORALEE
How ’bout Hart never comes back and you become CEO.
VIOLET
Too big. It’s the Old Boys club. I could never be CEO.
JUDY
Sure you could.
DORALEE
You know... you really could, Violet.
VIOLET
It would be wonderful, wouldn’t it? (shakes head) But it could never happen.
DORALEE
C’mon, Violet, dream big. Anything is possible. (#16 – ONE OF THE BOYS begins.)
ONE OF THE BOYS
(VIOLET thinks it over.)
VIOLET: A female CEO. That would be something, wouldn't it! Man, I want it so much I can taste it.
ENSEMBLE:
Sock 'em Swing
One of the boys!
Vio let's one of the boys!
(#17 – ONE OF THE BOYS (PLAYOFF) begins.)
SCENE 11: OFFICE BULLPEN
(DORALEE is standing by ROZ, who is reading a memo.)
ROZ
“You are hereby assigned to attend the Lester Language Immersion Center... effective immediately.” Signed Franklin Hart. I can’t be away for an entire month! I need to see Mr. Hart!
DORALEE
He just handed that to me on his way out. Maybe you can still catch him.
(shouts down the hall) Judy, can you see Mr. Hart?
JUDY
Yes, yes I see him. Mr. Hart, wait a minute! Aw, you just missed him.
ROZ
Effective immediately? Why would he do this without discussing it with me?
DORALEE
Sorry, Roz.
(DORALEE hands ROZ a suitcase and plane ticket.) I think you’ll find everything you need in here. (mangled French) Bonee voyagee.
JUDY
Better get going, Roz, it’s already five o’clock. (#18 – 5 TO 9 begins.)
Gentle Pop Ballad
5 TO 9 & # # 4 4 ∑
(The WOMEN exit. ROZ cleans out her desk during the song.) ∑ Slight Rit.
(#19 – CHANGE IT begins.)
(DORALEE, JUDY, and VIOLET are explaining new ofÞce policies.)
KATHY: Daycare? Are they serious? The company's going to watch people's kids?
VIOLET: If Consolidated helps you with your kids, productivity increases.
KATHY: They haven't met my kids.
MARGARET: (reading memo) Job sharing? What's job sharing? Can I give away my whole job?
(The other EMPLOYEES laugh.)
JUDY: C'mon, guys. Where's your team spirit?
KATHY: Since when do we have team spirit?
VIOLET: You know what we all need around here? An attitude adjustment.
KATHY: 'Scuse me?
DORALEE: What Violet means is...
(During this number, the ofÞce will completely change into a bright, warm, colorful place.)
JUDY, VIOLET, DORALEE:
Got cha chained and bound? Well
If you've built a wall And you
JOE: Wow! I can't believe it. Mr. Hart really okayed rehiring Maria?
JUDY: What do you mean you don't believe it? It's there in black and white!
JOE: Jeez, what's gotten into you?
JUDY: A backbone.
(MARIA enters carrying her box of personal items. She's been rehired!)
ALL: Maria! Welcome back! Hi! (ad-lib)
We are so good at this.
(under her breath)
DORALEE
JUDY
You know we only have a few days till Roz gets back.
DORALEE
Don’t worry. We’ll be ready for her.
JUDY
I sure hope so. Okay, I’m gonna go to the daycare.
DORALEE
Again?
JUDY
I can’t help it. The babies are so cute!
KATHY
Lunch today, Doralee?
DORALEE
Havin’ lunch with my man today, how about tomorrow?
KATHY
It’s a date.
(#20 – A BETTER DAY begins.)
SCENE 13: ATRIUM
(VIOLET is sitting in the Atrium. JOE enters.)
JOE
I never thought I’d love getting up and coming to work. If I didn’t know better, I’d think someone else was running the office.
VIOLET
Exactly what are you trying to say, Joe?
JOE
Hmmm, let me try again. Good morning, Violet, beautiful day, isn’t it?
VIOLET
Are you saying someone other than Hart is running the office?
JOE
Violet, what’s the matter with you?
VIOLET
Why would anything be the matter? I’m fantastic!
JOE
(not buying it)
If you say so.
VIOLET
Well I just did. I said so. Just said it.
JOE
I know you. Something’s wrong...
VIOLET
I’m telling you, I’m fine.
JOE
Talk to me. Seriously, you can tell me anything.
VIOLET
(in one breath, blurting it out)
We’ve got Hart tied up in his house while we try to prove he’s been stealing from the company. We’re following the money trail to collect enough evidence to prove he’s been cooking the books!
JOE
Not what I was expecting.
VIOLET
Me either.
JOE
You actually kidnapped Hart?
VIOLET
No! We just, we sort of... yup, we kidnapped Hart. And I’ll tell you, if we don’t find more evidence on him before Mrs. Hart comes back next week, we’re in big trouble.
JOE
I have access to every financial account in this company. I bet I could help you.
Really?
VIOLET
JOE
See what happens when you actually talk to me?
VIOLET
Joe, you’re the best.
JOE
I’m the best. Okay, move fast, Joe. Violet, have dinner with me. No time to think about it, say yes!
VIOLET
Oh Joe. I think you’re a great guy...
JOE
No, no, no, not the “great guy” speech. Give me one good reason why you won’t go out with me.
VIOLET
I’m a one-man woman. And I had my one man. (#21 – LET LOVE GROW begins.)
Let Love Grow
LET LOVE GROW
(VIOLET:) Sometimes it seems like he was here a moment ago, sometimes it seems like he's been gone a lifetime. JOE: I know. But isn't it time you found something more to look forward to than just showing up here every day?
Freely
VIOLET: I'm sorry, Joe. I can't.
JOE: Why?
VIOLET: I'm scared.
JOE: You've got Hart tied up in his house and you're scared of a date with me?
Slower (JOE:)
Love will grow if one just lets it.
VIOLET:
(As they walk off together, VIOLET takes JOE's hand.)
(#22 – GOODNIGHT, MR. HART begins.)
SCENE 14: HART’S HOUSE
(JUDY is outside the bedroom door, yelling in to HART.)
JUDY
Alrighty, Mr. Hart. Night night. Sleep tight. Don’t let the bedbugs bite.
(JUDY locks the door, hears a noise, walks over to the window, and sees it’s RICK.) Rick, what are you doing here? RICK
Whose place is this?
JUDY
I’m house-sitting. For a friend.
RICK
How about a cup of coffee for your husband?
JUDY
Ex-husband. I thought you were in Mexico with whatshername.
RICK
Yeah, well... things sorta didn’t work out.
JUDY
She dumped you, didn’t she?
RICK
There was this cliff diver... long story. Not important. (There’s a sound from HART in the bedroom.) What was that?
JUDY
Nothing. Probably the cat.
RICK
What are you hiding, Judy?
JUDY
Nothing. Go. Get out of here!
RICK
I’m not leaving without you. (beat)
Judy, I want you back! This isn’t you.
JUDY
You don’t know me. I’ve changed!
RICK
You can’t be serious—
JUDY
Don’t tell me what I can do! (#23 – GET OUT AND STAY OUT begins.)
GET OUT AND STAY OUT
(JUDY:)
cess is out there
Yes you could. & # # # # #
# # # # #
œ Œ ú back my œ . ú life. w
(#24 – NO SHE DIDN’T! begins.)
SCENE 15: HART’S OFFICE
(VIOLET, DORALEE, and JOE are going through records and receipts in a file.)
VIOLET
The last invoices came in showing the missing money in one of Hart’s personal accounts. We got him!!
DORALEE
With that, the deposit slips, wire transfers, swollen bank accounts, we have more than enough to convince him to make a deal.
JOE
Congratulations, ladies. You’ve done a phenomenal job.
VIOLET
Couldn’t have done it without you, Joe.
JOE
Yes we could.
VIOLET, DORALEE
(Suddenly, HART bursts in. He is twisting JUDY’s arm behind her back, forcing her in front of him as a shield.)
VIOLET
Judy!
HART Surprise!
DORALEE
How did you get out?
(to JUDY) What happened?
VIOLET
JUDY
Missy got seasick and came home early.
HART
You didn’t really think you three pathetic pencil pushers could get the jump on me, did you?
VIOLET
Hart, it’s over.
(brandishing her file)
We have proof that you’ve stolen thousands and thousands of dollars from Consolidated.
HART
Are you seriously trying to compare a little creative accounting with what you three did to me?
(HART lets JUDY go; she runs to the other girls.)
DORALEE
Mr. Hart, can we please talk about this?
HART
Sure, we can all go have a little chat with the police and then I’ll hire the best lawyer in town and get off scot-free while you idiots go to jail for assault, kidnapping, and attempted murder.
(off their silence) Didn’t think this through, did you? Let’s go.
(MARIA enters.)
MARIA
Mr. Hart, it’s so good to see you!
HART
What are you doing here? I fired you!
MARIA
Yes, but then you sent me that lovely note and invited me to come back.
HART
What’s she talking about? I never agreed to that.
DORALEE
Why sure you did, Mr. Hart. Your signature’s on every memo.
HART
Every memo? How many memos are we talking here?
DORALEE
About a hundred.
MARIA
Oh, I almost forgot. A Mr. Tinsworthy’s on his way up.
HART
Tinsworthy’s here? Now?
Who’s Tinsworthy?
JUDY
VIOLET
He’s the chairman of the board.
HART No!
JUDY No!
DORALEE No!
JOE No!
VIOLET No!
(ROZ enters in a French beret.)
ROZ Monsieur Hart. Je suis ici...
HART, JUDY, DORALEE, JOE, VIOLET NNNOOOO!
(#25 –
SCENE 16: OFFICE BULLPEN
(RUSSELL TINSWORTHY, wearing an ice cream suit and Panama hat, enters. He has the bearing of an army general. HART rushes over and pumps his hand.)
HART
Mr. Tinsworthy, sir, to what do we owe the pleasure?
TINSWORTHY
Hart, I’m dumbfounded about what’s been happening in this division over the last four weeks.
HART
There’s something you need to know...
TINSWORTHY
Right. I need to know who’s responsible...
HART
These women...
TINSWORTHY ... for the 20% rise in productivity.
HART (realizing) ... Wait, what?
TINSWORTHY
These women are responsible? (The girls smile.)
HART Yes. No. I mean, Violet was the ringleader when they—
TINSWORTHY
Is this Violet Newstead? The Violet Newstead? I’ve heard a lot about you over the years.
VIOLET
Thank you, Mr. Tinsworthy.
TINSWORTHY
What’s been going on around here, Violet?
HART
Sir, I think we’re talking about two different things...
TINSWORTHY
Hart, hush. I’m talking to a lady.
VIOLET
Well, sir... my two colleagues Doralee Rhodes and Judy Bernly and I thought it was time to make some changes in the office.
JUDY
We thought with some new ideas – job sharing, flexible hours, daycare – we could improve the quality of life here at Consolidated.
DORALEE
And increase productivity at the same time.
VIOLET
(to TINSWORTHY)
And Mr. Hart signed off on the changes.
TINSWORTHY
Hart, I’m proud of you for nurturing such creative thinking... and from secretaries, no less!
VIOLET
Oh here we go.
TINSWORTHY
I want you by my side, Hart. I think it’s time you came to work with me.
HART
It would be an honor, sir.
VIOLET
Wait, Mr. Tinsworthy. Sir, I think you just might want to take a look at these invoices first.
HART
Before we get to that, sir...
VIOLET
Mr. Tinsworthy, we’re the ones who...
HART
In spite of the sacrifices I’ve made so all my girls could reach...
VIOLET, JUDY, DORALEE
Your girls?
(steamed)
HART
Sir, they were also holding me...
Hostage!
Excuse me, what?
Violet!
VIOLET
TINSWORTHY
DORALEE
JUDY No!
VIOLET
Oh, it’s no use, we might as well come clean. But before we get arrested and spend the next thirty years in prison, I want to say a few things: This place was horrible until we fixed it. (Beat. She looks at HART, quietly furious and growing stronger and more certain.)
We all do the work of keeping things running around here, Mister Tinsworthy, not him. He plays golf and takes the credit. And why? ’Cause he’s “The Guy.”
HART
Wait a minute!
VIOLET
No you wait a minute! I’ve been waiting my whole life! See, we’re not “The Man.” We’re just the women behind “The Man.” The women don’t play golf... we play catch-up. We are late picking the kids up from school ’cause of work—and late getting to work ’cause of kids. The women cook and balance budgets and squeeze a dollar as far as it can go, and works her tail off, and if that doesn’t qualify her to be heard and seen and respected well what does?? (beat)
And so yeah, we kidnapped Mr. Hart and threw him in the back of my Buick...
DORALEE
(stepping forward) ... tied him up like a little pig at the state fair...
JUDY
(joins the other two) ... and locked him up in his room.
VIOLET
We just wanted to make things better, and now he’s going to get all the credit and we’re gonna get ten to life.
(The girls have surrendered.)
TINSWORTHY
Hostage? Locked him up? Little lady... (He starts to laugh.) ... you are one heck of a joker.
HART
No, they really...
TINSWORTHY
I know you’re not aware of it but there’s very little that goes on at Consolidated that I don’t know about. (He looks at KATHY, and they share a smile.)
My only concern right now is doing what is right for the company. Frank, I’m making you the head of a brand-new division!
(HART beams.)
Thank you, sir.
HART
TINSWORTHY
The Bolivian operation is just beginning to take off. I could use a man like you.
HART
Bolivia??
TINSWORTHY
You’ll love it. You can fight your way down the Amazon in your spare time.
HART
What about Violet? She knows as much about the office as I do!
(#26 – FINALE begins.)
FINALE
TINSWORTHY: Another ingenious thought! Only a visionary like you would suggest a female CEO.
HART: I – what – I didn't...
TINSWORTHY: Of course, that's if you want the job, Violet.
VIOLET: Oh yes, sir. I want it!
(JUDY and DORALEE squeal with delight, and the other EMPLOYEES applaud.)
ROZ: (desperate) I would like to volunteer to accompany Mr. Hart to Bolivia. I speak ßuent French.
TINSWORTHY: We're going to need you here. You'll be reporting directly to Violet. Better get packing, Frank.
HART: Not that I'm not ßattered, sir...
TINSWORTHY: I don't take no for an answer. (signals to BOB to walk HART out) Bob—
BOB: Hey Hart, I have a good one for ya – what do you call a female CEO?
HART: What?
BOB: A CEO.
(BOB ENRIGHT ushers HART out. TINSWORTHY turns back to VIOLET.)
TINSWORTHY: Congratulations. To all three of you. Don't worry about Hart, he won't get in your hair again for a long, long time. (wink) Carry on.
now that I can do it. Bet ter
get my rear in
(ROZ steps out from the group, carrying a stack of copy paper.)
ROZ: Roz kept on working well into the '90s, though she was unable to get over the loss of Mr. Hart.
(HART appears somewhere on the stage. Alone.)
HART: Franklin Hart went to Bolivia... and was never heard from again.
JUDY: Judy Bernly lived happily for the rest of her life as a strong, independent, single woman. She became a frequent guest on The View after writing her best-selling memoir, Life Without The Jerk.
DORALEE: 'Course, Doralee moved on from Consolidated and followed her dream of becoming a country-western singer.
VIOLET: Violet and Joe have been together for almost thirty years. Violet ran Consolidated, making it one of the top businesses in the country for employee satisfaction.
Get up and work, get up and work. Get up!
Get up and work, get up and work, work in'
THE END
(#27 – BOWS begins.) (#28 – EXIT MUSIC begins.)
words to know from 9 to 5 JR.
Blackmail – demanding money or another benefit from someone in exchange for not revealing damaging information.
Bullpen – a nickname for an open workspace office setup where employees sit at desks without dividers.
CEO – shorthand for Chief Executive Officer.
“Cooking the books” – making a company’s financial situation look better than it is.
Crude – lacking taste, tact, or subtlety.
Deposit slips – forms a person fills out to deposit money into their bank account.
Dictate – also known as “taking a dictation,” this means one employee speaks while the other employee writes what they say, like for a memo.
Dignity – when a person is valued, respected, and treated ethically.
Discrimination – treating people differently without fair or proper reason.
“Dolled up” – an old-fashioned way to say “dressed up.”
Equal pay – the concept that every employee should be paid the same amount for doing the same work, regardless of gender.
“Get off scot-free” – an old-fashioned phrase meaning to avoid a deserved punishment.
Hog-ties – tying together someone’s hands and feet.
“Hound dog with rabies” – Doralee thinks that people in the office treat her like a “hound dog with rabies,” meaning they do not want anything to do with her.
Intercom – a communication device that directly connects individuals in an office.
Invoices – records of payment; a bill.
Job sharing – people working part-time to do one full-time job.
Language Immersion Center – a place where Roz goes to learn French.
Memo – a written message, usually used in business situations.
Moron – used as an insult, this term refers to a person of low intelligence.
Mother Teresa – a Catholic nun famous for her work with the poor and Missionaries of Charity.
Pencil pushers – an unkind term for an employee who does clerical work, or jobs that require a lot of paperwork, like accounting.
“Pinch my every dime” – to try and save money.
Promotion – when an employee is given a raise, like a higher salary or a job title with more responsibility.
“Punchin’ In” – it was very common in the 1970s to use a time clock machine to track employees’ arrival and departure time from work. An employee would have a personal timecard to insert into the machine, which would then punch a hole to note the time.
Resentful – feeling bitter or angry about a situation or circumstance.
Savvy – showing understanding or comprehension on a certain matter.
Shag Rugs – first became popular in the 1960s and 1970s, these rugs have a deep pile which results in a shaggy appearance.
Slogan – a memorable catchphrase used in advertising.
“Step on the boss man’s ladder” – the idea that an employee is only helping their boss succeed, not themselves.
Stockholders – people who own financial shares in a company.
Strychnine – a strong poison.
“Swollen bank account” – the value of the bank account has grown larger, meaning it has more money.
TGIF – this phrase, meaning “Thank God It’s Friday,” was popularized by a restaurant chain called TGI Friday’s, which first opened in 1965.
Typewriter – this machine had a keyboard, like a computer, but each key would correspond to an individual letter or symbol on an ink ribbon. Instead of watching words appear on a screen, the typist would watch words be inked onto paper.
Vigorously – with lots of energy or strength.
Wallowing – indulging or enjoying something positive, like Violet enjoying the attention she gets while being the boss.
Wire transfers – an electronic payment that moves money between financial institutions.
W-O-M-Y-N – this is an alternate spelling for “woman” popularized in the 1970s, the point being to take “men” and “man” out of the word “woman.”
“Work my tail off” – to work very hard.
Xerox – a famous brand of photocopier used widely in offices throughout the 1970s and beyond.
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.
objective: A goal or purpose to be achieved.
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.
theater: when theater is spelled with “er,” it is often referring to the physical space where theatre is performed.
theatre: when theatre is spelled with “re,” it is commonly referring to theatre as an art form.
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 Editor
Rebecca Marlowe
Design & Layout
iTheatrics
Kevin M. Johnson
Music Layout
Daniel Mertzlufft
Rob Rokicki
Music Supervisor
Lindsay Lupi
Associate Editor
Marianne Phelps
Publications 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