Walt Disneyworld RuleBook 12-17

Actors’ Equity Association

AGREEMENT AND RULES GOVERNING EMPLOYMENT

Walt Disney World

Effective Date: September 16, 2012

Expiration Date: September 9, 2017

NATIONAL OFFICE 165 West 46th Street New York, NY 10036 (212) 869-8530 phone (212) 719-9815 fax

HOLLYWOOD OFFICE 6755 Hollywood Boulevard, 5th Fl Hollywood, CA 90028 (323) 978-8080 phone (323) 978-8081 fax

CHICAGO OFFICE 557 West Randolph Street Chicago, IL 60661 (312) 641-0393 phone (312) 641-6365 fax

ORLANDO OFFICE 10319 Orangewood Boulevard Orlando, FL 32821 (407) 345-8600 phone (407) 345-1522 fax

www.actorsequity.org

SECTION I. RECOGNITION ................................................................................ 1 1. .... PURPOSE. ................................................................................................. 1 2. .... RECOGNITION. ......................................................................................... 1 3. .... NON-RESIDENT ALIENS. ......................................................................... 2 4. .... SCOPE. ...................................................................................................... 2

SECTION II. CONTRACTUAL ............................................................................. 3 5. .... AUDITIONS AND INTERVIEWS. ............................................................... 3 6. .... AGENTS. .................................................................................................... 5 7. .... EXCLUSIVE SERVICE. .......................................................................... 5 8. .... CONTRACTS. ......................................................................................... 5 9. .... RELOCATION. ........................................................................................... 8 10. .. RESPONSIBILITIES OF THE PERFORMER. ......................................... 9 11. .. PROBATIONARY PERIOD. .................................................................. 10 12. .. DISCIPLINE, STANDARDS OF CONDUCT AND TERMINATION. ...... 10 13. .. CLOSE OF SHOW NOTICE. ................................................................. 13 14. .. LAYOFF. ............................................................................................... 13

SECTION III. SALARY AND BENEFITS ........................................................... 15 15. .. PAY DAY. .............................................................................................. 15 16. .. PAY RATES. ......................................................................................... 15 17. .. SICK LEAVE. ........................................................................................ 19 18. .. HOLIDAYS. ........................................................................................... 21 19. .. VACATIONS. ......................................................................................... 23 20. .. PENSION AND WELFARE. .................................................................. 26 21. .. LEAVES OF ABSENCE. ....................................................................... 28

SECTION IV. CONDITIONS .............................................................................. 31 22. .. COSTUMES AND MAKE-UP. ............................................................... 31 23. .. PROPERTY. .......................................................................................... 34 24. .. SAFE AND SANITARY. ........................................................................ 34 25. .. PERFORMANCE RISKS. ...................................................................... 39 26. .. STAGE FIGHTING OR STUNTS. ......................................................... 39 27. .. FILMING/VIDEOTAPING. ..................................................................... 41 28. .. AUDIO TAPING AND VOICE-OVERS. ................................................. 43 29. .. PHOTOGRAPHS AND PUBLICITY. ..................................................... 44

SECTION V. WORK RULES ............................................................................. 46 30. .. REHEARSAL AND PERFORMANCE WORK RULES. ......................... 46 31. .. UNDERSTUDIES, SWINGS AND SUBSTITUTES. .................................. 55 32. .. TRAVEL. ............................................................................................... 56 33. .. CLASSES. ................................................................................................ 57

SECTION VI. ADMINISTRATIVE ....................................................................... 58 34. .. LAWS GOVERNING. ............................................................................... 58 35. .. INTERPRETATION. ................................................................................. 58 36. .. MANAGEMENT RIGHTS. ........................................................................ 58 37. .. BULLETIN BOARDS. ............................................................................... 58 38. .. WORK STOPPAGES AND LOCKOUTS. ................................................. 59

39. .. UNION ACTIVITY AND CHECK-OFF. ..................................................... 59 40. .. EQUAL EMPLOYMENT OPPORTUNITY, NON-DISCRIMINATION AND NON-RETALIATION. ................................................................................................ 60 41. .. BLACKLISTING. ....................................................................................... 61 42. .. JOINT EQUITY/WALT DISNEY WORLD COMMITTEE. .......................... 61 43. .. GRIEVANCE PROCEDURE. .................................................................... 62 44. .. TERM OF AGREEMENT. ......................................................................... 65

ADDENDUM I - “REGULAR PART-TIME AND SEASONAL/TEMPORARY PERFORMERS” ................................................................................................. 67

ADDENDUM II - “SCHEDULE MATRIX” ........................................................... 71

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AGREEMENT entered into this 16th day of September, 2012, by and between Walt Disney World Company, hereinafter called “Company” and Actors’ Equity Association, hereinafter called “Equity”.

SECTION I. RECOGNITION

1. PURPOSE.

Actors’ Equity Association and Walt Disney World Company acknowledge their individual and collective responsibilities to advocate and promote conduct that is responsible, non-abusive, and tolerant of the individuality of those working under this Agreement.

Therefore, the parties hereto have entered into this Agreement to establish fair wages, working conditions, benefits, respect of individual talents and dignity in treatment, and to put into practice effective and binding methods for the settlement of all misunderstandings, disputes, or grievances that may arise between the parties hereto, to the end that the Company is assured complete continuity of operation and that labor-management peace is maintained and performers are guaranteed union rights and protection as provided by this Agreement.

2. RECOGNITION.

(A) The Company recognizes Equity as the sole and exclusive bargaining agent of the Regular Full-Time, Regular Part-Time, and Seasonal/Temporary performers of the Company in the classifications of Chorus, Chorus Stepping-Out and Principal (hereinafter referred to as performers), excluding non-resident aliens under an appropriate visa (see also Rule 3, NON-RESIDENT ALIENS.), students working in the College Program, and third-party sub-contractor performers. Students in the College Program will not perform in regularly scheduled shows with Regular Full-Time performers in a classification as specified above, but may perform in separate productions as well as Special Events in combination with Regular Full-Time performers.

(B) Employment Status.

(1) Seasonal/Temporary performers shall be defined as those performers hired during seasonal expansion periods, for Special Events or Conventions or as substitutes. A Seasonal/Temporary may be contracted as a Regular Full-Time substitute for a performer(s) on leave of absence for up to 20 weeks.

(2) Regular Part-Time performers shall be defined as performers who are signed to an Individual Employment Contract guaranteeing at least one day of work per week. A Regular Part-Time may be contracted as a Regular Full-Time substitute for a performer(s) on leave of absence for up to 20 weeks.

(3) Regular Full-Time performers shall be defined as performers who are contracted as Principal, Chorus, or Chorus Stepping-Out to work for four or more days per week and at least 30 hours per week for a period of no less than

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14 weeks, excluding a maximum three week rehearsal period. The 14 week period begins with the first public performance.

(4) Any Regular Part-Time or Seasonal/Temporary performer who exceeds the above-referenced minimums shall be immediately signed to a Full-Time Individual Employment Contract and benefits shall be retroactive.

(C) During the term of this Agreement, the Company will provide to Equity in writing on a monthly basis a list of the names of any third-party subcontracted performers or, if applicable, the producer of such performance act and its name or description, the performance property in which the performer(s) appeared during the month and the date(s) performer was engaged. In the case of non-resident aliens for whom the Company has petitioned for the visa, the type of visa issued will be reflected on the report.

3. NON-RESIDENT ALIENS.

Non-resident aliens may not be employed except as follows:

(A) Non-resident aliens of unique ability may be employed in self-contained acts in performances which are culturally authentic to the specific country represented.

(B) Prior to employing non-resident aliens, as specified in (A) above, in any situation where bargaining unit members are currently employed under an Individual Employment Contract, the Company will: (1) notify Equity; and (2) work in collaboration with Equity to identify qualified citizens or resident aliens who fulfill the requirements of the position. The parties agree that the Company retains the right to make reasonable final casting decisions.

(C) During the term of this Agreement, where a non-resident alien performer is employed by the Company under (A) or (B) above, the Company will provide to Equity in writing on a quarterly basis a list of the name, date of employment, performance property, country of origin and type of visa of each non-resident alien performer employed during the previous quarter.

4. SCOPE.

(A) The scope of this Agreement shall apply to any area within the 30,500+ acres of the WALT DISNEY WORLD RESORT, including but not limited to the MAGIC KINGDOM, EPCOT, DISNEY’S HOLLYWOOD STUDIOS and DISNEY’S ANIMAL KINGDOM Theme Parks, DOWNTOWN DISNEY, DISNEY’S BOARDWALK, hotels, motels, golf facilities, campsites, airport facilities, boats and boat landings, entrances, or any other facilities, complexes or areas on said acreage.

(B) Additionally, this Agreement shall apply to any WALT DISNEY WORLD RESORT performer assigned to make special appearances at locations within the geographical jurisdiction of Equity.

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SECTION II. CONTRACTUAL

5. AUDITIONS AND INTERVIEWS.

(A) General Provisions. The Company agrees to hold auditions for performers. The following conditions shall apply:

(1) Among the auditions held, there shall be auditions for Equity performers.

(2) The Company is under no obligation to hire any person pursuant to any audition procedure including the procedure for Equity performers set forth in (B) and (C) below.

(3) The Company shall make such reasonable accommodations as may be appropriate in fulfillment of its obligations under the Americans with Disabilities Act Amendments Act (ADAAA) with respect to auditions. Where appropriate, Equity agrees to cooperate with that effort upon request of the Company.

(4) Casting Requirements. Casting requirements shall be submitted to the Orlando Equity office in writing with as much advance notice as possible, but not less than ten days prior to the audition and shall be posted on Equity Call Boards throughout the property and at the audition site.

(5) An individual with casting authority (that is, one who can effectively recommend performers for employment) must be present at all times during auditions.

(6) Procedures. Performers may be "typed-out" prior to any segment of the audition based upon the casting requirements. Following the typing-out audition segment, all remaining auditionees may be required to vocalize and/or participate in a movement combination. Either a Choreographer and/or Assistant Choreographer shall be present at all dance auditions. A Tumbling Coordinator shall be present at all tumbling/gymnastic auditions.

(7) Safe and Sanitary Provisions. All audition spaces shall comply with the fire laws of the city or state in which auditions are held. The Company shall provide an audition room, a holding room, and a lavatory facility in the building housing the audition. (Access to the lavatory must be separate from the room in which auditions are being held.) The Company shall ensure that dance, stunt, gymnastics or movement auditions shall not take place on carpet, concrete or marble floors or on any other substance laid directly over such surfaces which do not provide adequate air space and resilience. Mats and padding which meet U.S.A. Gymnastics (U.S.A.G.) or National Collegiate Athletic Association (N.C.A.A.) standards shall be provided at all tumbling auditions. When auditions take place on the Walt Disney World property, an ample supply of drinking water shall be provided at no charge to the performer.

(8) Liability Insurance. The Company shall provide liability insurance at all auditions. In the event of injury, the auditionee should contact the Company's representative at the audition for the proper procedure for filing a claim.

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(9) Accompaniment. A piano and an accompanist, who can sight read, will be provided at auditions for productions in which performers sing and/or dance.

(10) Equity will make every effort to provide monitors for all auditions which take place in cities where Equity maintains an office or a Liaison Committee.

(B) Required Auditions.

(1) Equity Auditions. At least two days of Equity auditions will be held each year in New York City and at least four additional days total of Equity auditions, which may be scheduled in a minimum of two hour segments, will be held in Orlando and at least two other cities in which Equity has an office or Liaison Committee. Equity shall provide the Company annually with a list of such cities.

(2) In-House Auditions. The Company will hold an in-house open, general audition for all performers on the following basis:

(a) Six times per year for acting, singing and dancing disciplines;

(b) Two times per year for the stunt discipline.

Performers may audition for any shows or roles for which they wish future consideration. Audition notices will be conspicuously posted on the Equity Call Boards throughout the property ten days prior to the audition. Performers will audition on their own time but the Company will make reasonable efforts to accommodate the work schedules of performers in the Equity unit.

(C) Scheduling and Notification.

(1) Equity Audition Notice. The Company shall submit to the Orlando Equity office and to the Equity Auditions Department in New York City a notice of each audition required in Rule 5(B)(1) above, a minimum of 30 days prior to each audition. The Auditions Department will take responsibility for forwarding notices of auditions taking place outside of Equity’s Eastern Region to the appropriate Equity office for posting.

(2) Local Auditions. When the Company is conducting auditions in Orlando (except for call-backs*), audition notices will be conspicuously posted on the Equity Call Boards throughout the property ten days prior to the audition so that interested performers may request an audition. Those performers may attend on a call-back day at a scheduled appointment on their own time.

*A call-back audition shall be a scheduled appointment for performers selected by the Company to be auditioned for a specific role or show.

(3) New Productions. When the Company is casting a new show, the Company will hold local auditions. Audition notices shall be posted on the Equity Call Boards throughout the property ten days prior to the audition so that interested performers may request an audition. The Company will make reasonable efforts to accommodate the work schedules of the performers in the Equity unit.

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A copy of the script, storyboard or cast breakdown for the new show shall be submitted to the Equity office at the time audition notices are posted.

(4) Conventions/Special Events. If auditions are to be conducted for a Special Event or Convention, the Company will fax an audition notice to Equity and post the notice on Equity Call Boards three days prior to the audition.

(5) Any Company-required audition shall be paid at the performer's appropriate rate.

6. AGENTS.

Any agent who acts for the Company, either as a casting consultant or packager, with or without fee, does not represent the performer in securing employment with the Company. Said agent shall not, therefore, be entitled to commissions from the performer. The Company shall not directly or indirectly require the performer to sign a contract at or through an agent’s office.

7. EXCLUSIVE SERVICE.

(A) Exclusive Service on Property.

(1) Individual performers or groups may work for an outside production company that will be performing their services on the WALT DISNEY WORLD RESORT property (as outlined in Rule 4, SCOPE.) in work covered under this Agreement, provided the performer gives the Company first right of refusal with no more than 30 days notice.

(B) Individual performers or groups may not advertise themselves for outside employment purposes as currently employed by Walt Disney World Company or any of its components.

(C) Performers may not appear in a recognizable manner on any commercials for other theme parks, Central Florida tourist attractions, or resorts which are in direct competition with the Company.

(D) Performers have a primary obligation to the Company as full-time employer and will not accept work for other employers which interferes in any fashion with their obligation to the Company without written permission from the Company.

8. CONTRACTS.

(A) Notification. The Company shall notify the Orlando Equity office of any new performer employee as soon as possible, but no later than two days after the employee begins work. The notification will provide the performer’s name, social security number, work location and, if known, the schedule of the performer’s first week of employment.

During the term of this Agreement, the Company will provide to Equity in writing on a monthly basis, a list of non-bargaining unit substitutes. This list will include name, date, show and role.

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(B) Forms. The Parties agree upon the utilization of individual employment contracts between the Company and the performers. Said contracts shall be signed first by the Company and must be signed by both parties prior to the performer’s date of travel or first day of employment, whichever comes first. Said contracts will be on a mutually agreed upon standard contract form and the Company, the performer and Equity will receive an original copy of the executed contract. Nothing in the individual employment contract shall serve to lessen the terms of this Agreement.

(C) Blanks. All blanks (e.g., starting date, statused show, classification, salary, estimated relocation expenses, type of venue (indoor/outdoor), etc.) must be filled in before signing or delivery. Principal contracts for statused show must state name of part, role, roles or assignment to an Acting Company. Examples:

Show Classification Role

Epic Stunt Show Principal Indy

Streetmosphere Principal Acting Company

Comedy Warehouse Principal Acting Company

Dapper Dans Principal Tenor, Baritone

Any “cross-outs” or corrections must be initialed by both the performer and the Company. Both the Company and the performer shall exercise due care in handling original contracts to ensure that they remain clean and free of extraneous markings.

(D) Time Limits.

(1) The performer shall have five business days from receipt of the contract or renewal offer to examine the offer and discuss details with Equity and/or the Company, after which time the signed documents shall be returned to the Company or they may be considered no longer valid.

(2) The Company shall mail an original copy of the contract to Equity within seven days of receipt of the signed contract from the performer.

(E) Riders. All changes (including the addition or deletion of roles), alterations or substitutions must be in writing, signed by both parties, and made a part of the Individual Employment Contract with an original copy to Equity.

(F) Changes Subsequent to Contract Signing. The Company may not make a change to the terms and/or conditions of the Individual Employment Contract unless the performer agrees by means of a rider. If the performer and the Company cannot agree to the terms of the change, one of the following shall apply:

(1) The change shall not be implemented for said performer; or

(2) The performer, if willing, shall be transferred to another show, if possible; or

(3) The performer’s contract may, by mutual consent, be terminated with no less than four weeks’ notice.

(G) Productions Canceled. Should the Company cancel a new production prior to the start of employment, the Company may terminate any outstanding new

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contracts for said production by giving no less than two weeks’ notice or by giving no less than one week’s notice and paying one week of contractual salary, plus paying any relocation expenses which cannot be avoided. Should notice be less than one week, the Company will pay two weeks’ contractual salary plus all unavoidable relocation expenses. In the case of contracts which stipulate less than one full week of employment, salary payments due under the above formula will be 50% of the total contracted amount if one week’s notice is given or the full contracted amount if less than one week’s notice is given.

(H) Contracts Voided. A contract may, at the Company’s discretion, be voided prior to its start date if the Company has proof that the performer has falsified his application or employment forms or where the performer is convicted of or pleads guilty to any morals charge, felony or misdemeanor, other than minor traffic offenses or accepts a pre-trial diversion to any morals charge or felony. In such a circumstance, the Company will be responsible only for relocation expenses which cannot be avoided.

(I) Renewal of Contract. On those Individual Employment Contracts that have an expiration date, the performer will be notified in writing, with a copy to Equity, of the Company's intention either to renew or not renew the Individual Employment Contract no less than four weeks prior to the expiration of his Individual Employment Contract.

(1) If a performer’s Individual Employment Contract is not renewed the performer shall receive the following pay at their current statused rate:

Years of Continuous Service Amount of Pay

Less than 3 -0-

3 – 5 2 weeks

6 – 9 3 weeks

10 or more 4 weeks

(2) Re-audition. If a performer's contract renewal is in question, said performer may request an audition.

(3) Salary Negotiations. To insure privacy, any and all individual salary issues or settlements are to be privately discussed between the Casting Manager, or his designee, and the Operations/Resource Manager and the performer and, at the performer’s choosing, his representative and/or interpreter.

(4) For seasonal shows (e.g., Celebrate the Season) with Individual Employment Contracts of not more than 13 weeks’ duration, written notification of non-renewal shall not be required. This does not apply to ongoing shows (e.g., Beauty and the Beast, Dream Along with Mickey).

(J) Two Weeks’ Notice. Either party may terminate the contract by giving the other party two weeks’ written notice. However, after the probationary period (see Rule

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11), the Company may only terminate the performer’s contract for inability to perform up to standard or for just cause (see Rule 12(G)(1) and 12(G)(2)).

(K) Notice. All termination notices must be in writing. Copies of all notices must be filed with Equity immediately by the party (performer or Company) giving notice.

(1) Notice to the performer must be given to him personally by the Casting Manager or his designee and/or the Operations/Resource Manager or his designee.

(2) A performer who resigns, is laid off, or is not renewed may be assigned Seasonal/Temporary status only at the performer’s request.

(3) A performer must be informed of his “rehire” status at the time that the notice is either given or received by the Company.

(L) Payment When the Performer is Not Allowed to Work Out Notice. If the performer is not allowed or required to work out any notice properly given under this Agreement, he shall be paid immediately upon being given notice and he may forthwith accept other employment.

(M)Rights After Giving Notice When Performer Secures New Engagement. Should either party give the other any notice permitted under this Agreement which terminates the Individual Employment Contract at any future date, and should the performer have or secure a new engagement, he shall be permitted to attend rehearsals under the new engagement as may be necessary and as do not conflict with his rehearsals or performances under the existing employment contract.

9. RELOCATION.

(A) The Company shall provide for Regular Full-Time performers the following relocation benefit, provided the performer relocates from outside a 100 mile radius from the Walt Disney World Resort:

(1) The cash equivalent of one-way non-restricted coach air transportation for the performer and immediate family (spouse and children under the age of 18). The Company shall furnish the performer with the means for payment at least three days in advance of departure.

(2) The cash equivalent of round-trip non-restricted coach air transportation for the performer and immediate family, as defined in Rule 9(A)(1) will be provided for relocation from outside the mainland U.S.A. for those originally relocated. The cash equivalent of return transportation at the conclusion of employment must be requested within 60 days from date of termination or transfer from the unit; however, the Company shall consider extenuating circumstances in granting extensions to the 60 day requirement.

(3) The cash equivalent of seven days temporary housing. Individual extensions may be agreed to at the Company’s sole discretion.

(B) The Company shall provide for Regular Full-Time performers the following relocation benefit, provided the performer relocates from a radius of more than 50 miles, but less than 100 miles from the Walt Disney World Resort:

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(1) Mileage costs at the prevailing federal government mileage rate or the current Disney standard mileage rate, whichever is higher;

(2) The cash equivalent of seven days temporary housing. Individual extensions may be agreed to at the Company’s sole discretion.

(C) Each performer to be relocated shall sign a relocation agreement, either prior to or concurrent with signing the Individual Employment Contract, which states the estimated cost of relocation prior to the actual relocation. An itemized accounting of the relocation expenses incurred on the performer’s behalf and any taxes deducted from same shall be provided to the performer.

(D) Where the Company assigns to the performer a credit card type payment means, the performer shall not make unauthorized charges. Prior to issuance, the Company shall provide the performer with detailed guidelines for use of the credit card, including specific examples of authorized and unauthorized types of charges.

(E) Reimbursement.

(1) A performer who voluntarily resigns during the initial term of the performer’s Individual Employment Contract, not to exceed 12 months, shall be liable to repay to the Company the entire relocation expense.

(2) Should the Company terminate the Individual Employment Contract within the initial term, not to exceed 12 months, except as specified in Rule 12(G)(1), Just Cause Terminations, the Company shall provide the performer the cash equivalent of non-restricted coach air transportation.

(3) Individual exemptions of relocation reimbursement may be granted at the Company’s sole discretion.

(4) In the case of performer reimbursement to the Company, the performer shall be provided with the appropriate form(s) indicating the adjustment in the performer’s gross income.

(F) The Company shall assist performers in finding appropriate housing within the seven days of temporary housing provided. During that week, the performer will be given a reasonable opportunity during business hours to locate and arrange for banking, housing and utilities. An extension of housing for an additional seven days will also be considered based on the circumstances.

10. RESPONSIBILITIES OF THE PERFORMER.

(A) The performer shall be prompt at all calls.

(B) The performer shall perform his services as directed by the Stage Director/Choreographer, and shall conform to the language of the script.

(C) The performer shall pay strict regard to performance make-up and dress.

(D) The performer shall check his costume and props.

(E) The performer shall respect the physical property of the production and of the Company.

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(F) The performer shall maintain a professional attitude toward and relationship with his production colleagues.

Failure to abide by these responsibilities may require the performer to attend a meeting of a Performers Relations Committee, convened by Equity, composed of three to five employees from the bargaining unit.

11. PROBATIONARY PERIOD.

The parties agree that the first eight weeks of employment shall be considered a probationary period, during which the Company shall have the right to terminate the contract of employment for any reason. The relocation week(s) shall not be included in the eight week probationary period. Probationary period terminations are not subject to the grievance procedure.

12. DISCIPLINE, STANDARDS OF CONDUCT AND TERMINATION.

(A) Standard of Conduct. High standards of conduct are necessary to preserve the Company’s and the performer’s public image and to insure a safe, harmonious and productive working atmosphere. The Company shall administer the sections of this Article with due consideration for the performer. Such consideration shall include length of service, work record, and seriousness of violation. The Company will make every effort to ensure the consistent application of the disciplinary section of this Agreement.

(B) Discipline. Discipline must be for just cause. The performer being disciplined shall be advised of his right to have the presence and advice of the Equity Business Representative, or if unavailable, an Equity Deputy, before any disciplinary action or questioning for the purpose of such action is taken.

(C) Investigatory Suspensions. A performer may be suspended from work so that the Company may complete a thorough investigation and review of an alleged incident/offense. In circumstances where an investigatory suspension extends beyond two weeks, a performer shall be paid on a weekly basis until such time that the suspension is concluded and an employment decision is administered by the Company. At the conclusion of the suspension, the performer will receive one of the following:

(1) No discipline and a return to work with full back pay, or,

(2) Verbal or written discipline in accordance with (D)(1) or (D)(2) below and a return to work with full back pay, or,

(3) Disciplinary suspension in accordance with (E) below, or,

(4) Termination in accordance with (G) below.

(D) Reprimands. In administering progressive disciplinary action, the Company will make its determination based on the factors specified in 12(A) above:

(1) Verbal Reprimands. Verbal reprimands for less serious violations may be given and should indicate that a reprimand is being administered relative to a specific subject or subjects.

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(2) Written Reprimands. Written reprimands may be given to an individual after one verbal reprimand for the same type of offense or upon a single occurrence, when the offense is of a more serious nature, but not serious enough to warrant immediate dismissal. Whenever the Company reduces a reprimand to writing, it shall be signed by the Manager who will present and discuss the reprimand with the performer. A copy will also be submitted to Equity via certified US mail, e-mail or fax. It shall also be signed by the performer, not in admission of the offense, but in acknowledgment that a copy of the reprimand has been received by the performer. The disciplined performer may write a rebuttal to any written reprimand. Such rebuttal shall be attached to and remain with the written reprimand for inclusion in the performer’s personnel file. The written reprimand should briefly state the reasons for the reprimand, including dates of prior discipline, if any, issued in the six month period prior to the offense for which the written reprimand notice is given.

(E) Disciplinary Suspensions. A performer may be suspended without pay for a period not to exceed two weeks in lieu of termination. A suspension may be issued based on a single occurrence or may be part of a disciplinary progression. The parties recognize, however, that the use of suspension is not a mandatory component of the disciplinary progression.

(F) Disciplinary Duration. Verbal reprimands, written reprimands and suspensions shall not be considered as a basis for further disciplinary action after 12 months from the date of issue.

(G) Terminations.

(1) Just Cause. Except as specified in Rules 11 and 12(G)(2), a performer may only be terminated for just cause, which includes, but is not limited to the following:

(a) Insulting, arguing, being discourteous or using profane language in the presence of a guest;

(b) Fighting at the WALT DISNEY WORLD RESORT, regardless of who provokes it;

(c) Falsification of records, such as medical forms, time cards or employment applications;

(d) Using, being in possession of or being under the influence of narcotics, intoxicants, drugs or hallucinatory agents at any time during the work shift or reporting to work under such conditions;

(e) Conviction of, or plea of guilty to, any morals charge, felony or misdemeanor other than minor traffic offenses; acceptance of a pre-trial diversion to any morals charge or felony;

(f) Violation of operating rules and procedures which may result in damage to Company property or in bodily injury to fellow performers or guests;

(g) Gambling during the work day;

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(h) Dishonesty which is detrimental to the Company;

(i) Continued violation of the Company grooming policy;

(j) Unauthorized leave of absence or failure to return from a leave or vacation;

(k) Excessive tardiness or absenteeism;

(l) Three consecutive working days of unreported absence;

(m) Willful insubordination;

(n) Misconduct which is detrimental to the Company;

(o) Discrimination;

(p) Harassment due to race, color, creed, sex, age, national origin, religion, marital status, sexual orientation, or disability;

(q) An accumulation of three written reprimands within a 12 month period;

(r) Possession of dangerous or unauthorized weapons, i.e., explosives, firearms, or similar items on Company property.

In all cases of Just Cause termination, the Company shall furnish in writing to the performer and to Equity the reasons for dismissal.

The Company reserves the right to administer appropriate disciplinary action in those instances where a performer misrepresents to the Company his inability to meet his scheduled shift due to personal illness or other reasons, but is determined to be working as a performer off property during said scheduled shift. It is understood between the parties that in the event of serious infractions of this provision, the Company reserves the right to discharge the performer, and Rule 12(G)(1)(h) above will be cited.

(2) Performance Related Terminations. A performer may be discharged for inability to perform in accordance with Company standards. The parties agree that such problems must be addressed through a “notice” procedure.

(a) Step 1. The performer shall receive written “notes” from the Show Director, Choreographer, Conductor, Fight/Stunt Director or Coordinator or Casting Manager. Immediate qualified assistance in correcting the performance problem shall be made available by the Company.

(b) Step 2. If the problem is not corrected with Step 1, the performer shall receive written notice, which must clearly state the nature of the problem and specify a time period of no less than two weeks for correction of the problem. Qualified assistance shall continue to be made available to the performer for the correction period.

(1) A copy of the written notice shall also be served on Equity.

(2) The written notice shall be over the signature of the Show Director, Choreographer, Conductor, Fight/Stunt Director or Coordinator or Casting Manager and the appropriate member of management with the

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authority to terminate employment, and said person(s) signing the notice shall have seen the performer in performance within one week prior to the date of the notice.

(c) Step 3. At the conclusion of the correction period, the performer’s performance will be reviewed.

(1) If progress satisfactory to the Company has been made, the performer will receive written confirmation of satisfaction, with a copy to Equity.

(2) If progress satisfactory to the Company has not been made, the performer will receive written notice of termination, copy to Equity, without recourse to the grievance procedure and provided with the following notice:

(a) two weeks’ notice under five years;

(b) three weeks’ notice after five years;

(c) four weeks’ notice after ten years.

13. CLOSE OF SHOW NOTICE.

(A) The Company may close a show upon two weeks’ written notice, copy to Equity. Should the Company wish to retain any performer statused in said show, a new contract must be offered at the time the Close of Show notice is posted. No further contract having been offered, the performer shall be free to seek other employment and to engage in rehearsals for another show, said activities not interfering with the performance of his regular duties to the Company.

(B) Should the Company close a show under Rule 13(A) it may not re-open the show within an eight week period, unless all members of the cast (at time of closing) are offered employment under no lesser terms and conditions than those under which they left.

(C) Should the Company close a show under Rule 13(A), the performer shall receive payment per rule 8(I)(1).

14. LAYOFF.

(A)

(1) If economic conditions/operational requirements require a reduction in the work force, the Company may layoff any performer with a minimum of two weeks’ written notice, copy to Equity. (See Rule 19(B)(8).)

Such layoffs will be by show at the sole discretion of Management.

(2) If a performer is laid off per rule 14(A)(1), the performer shall receive payment per Rule 8(I)(1).

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(B) Performers shall have the option of receiving paid-out benefits at the beginning of the layoff or at the expiration of the Individual Employment Contract, if not recalled.

Performers recalled within one year of the effective date of a layoff will maintain their continuous service date for the purpose of Company benefits. Health coverage shall begin on the first day of the new Individual Employment Contract.

(C) Laid off performers shall be notified of recall by telephone two weeks prior to the required start date. If the performer is not contacted by telephone, the Company will send a certified letter to the performer’s address of record notifying him of recall and the required start date which shall not be less than ten working days from the date the letter is mailed. A copy of any such letter shall be mailed to Equity.

(D) A performer who notifies the Company he will not report to work or who fails to report for work as scheduled on recall from layoff shall be considered to have voluntarily terminated his employment, unless such performer has notified the Company of personal illness or a death in the immediate family, prior to the date he was scheduled to report to work.

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SECTION III. SALARY AND BENEFITS

15. PAY DAY.

All salaries, including overtime, will be paid no later than the Thursday of the week following the end of the work week being paid. The performer will receive, with such salary, a stub or other record of gross salary, itemized additions (e.g., overtime), itemized deductions (e.g., dues deductions, taxes and Social Security), and a notation of the reason for any additional payments such as costume rental fees.

If a performer believes he has not been paid properly, and no resolution is reached within two weeks of bringing the issue to the attention of the appropriate manager, the performer will contact the Company designated representative for that location, who will promptly investigate the delay and communicate back to the performer.

16. PAY RATES.

(A) Minimum Pay Rate.

As of

9/16/12

9/15/13

9/14/14

9/13/15

9/11/16

Chorus $14.04 $14.26 $14.48 $14.70 14.96

Chorus Stepping-Out /Principal

$15.79 $16.03 $16.28 $16.53 16.82

(B) Annual Increase. During the term of the Collective Bargaining Agreement, all performers will receive a minimum rate increase upon the renewal of their individual employment contract as follows:

9/16/12 to 9/14/13 2.0%

9/15/13 to 9/13/14 2.0%

9/14/14 to 9/12/15 2.25%

9/13/15 to 9/10/16 2.5%

9/11/16 to 9/09/17 2.75%

Non-contracted Seasonal/Temporary performers will receive an increase each year, as follows:

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9/16/12 2.5%

9/15/13 2.5%

9/14/14 2.75%

9/13/15 3.0%

9/11/16 3.25%

(C) Contract Completion Bonus.

For any individual employment contract that is 12 months or more in duration, the Regular Full-Time performer will be entitled to a bonus upon completion of the entire term of the Individual Employment Contract.* The performer will receive the following bonus for any contract that expires between the following dates:

9/16/12 to 9/14/13 $1,400

9/15/13 to 9/13/14 $1,400

9/14/14to 9/12/15 $1,400

9/13/15 to 9/10/16 $1,400

9/11/16 to 9/09/17 $1,400

Only Regular Full-Time and Regular Part-Time Performers contracted on or before September 30, 2012, will remain eligible for a Contract Completion Bonus, providing they do not have a break in Equity service that is more than 30 days in length.

(D) Minimum Guarantee.

(1) Regular Performance/Rehearsal Day - eight hours minimum.

(2) Four Hour Minimum. Calls on Scheduled Day Off or when there is a break in pay from the scheduled work day - four hours paid at the appropriate rate for scheduling activities such as, but not limited to, performances, rehearsals, Special Event activities, administrative meetings, notes sessions, and wardrobe fittings.

(3) One-Half Hour Minimum Extensions. Extensions to Scheduled Work Day will be paid in one-half hour increments either prior to or following the scheduled work day, or show value, whichever is greater, for scheduling activities such as, but not limited to, performances, rehearsals, Special Event activities, administrative meetings, notes sessions, and wardrobe fittings. (Except as noted in Rule 30(I)(4)(c).)

(4) Overtime Option Notification. In the event overtime is scheduled beyond the performer’s scheduled work day, the performer will be notified prior to the conclusion of his work day whether overtime will be paid in accordance with (2) or (3) above.

(E) Required Rates. * Applicable to contracted Regular Part-Time performers on a prorated basis.

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(1) A performer may be contracted for multiple rates of pay when associated with the performance of different roles/shows.

(2) A performer shall not receive less than his contractual rate of pay for any hours worked as a performer.

(3) The Company may pro-rate pay in the initial week of employment if less than a full week.

(4) A performer who performs in a show to which he is not statused shall be paid either his contractual rate or the lowest statused rate paid for that classification/role in that show, whichever is higher.

(5) A chorus or chorus stepping-out performer who performs a principal role in a show to which he is statused shall be paid either his contractual rate or the lowest statused rate paid for that principal role in that show, whichever is higher.

(6) Any employee who is not covered by Rule 2, RECOGNITION, who appears in a job function covered by this Agreement shall be paid no less than the minimum rate paid for that role or job function.

(7) A performer’s contractual rate of pay cannot be lowered during the term of his Individual Employment Contract or in successive Individual Employment Contracts for the same classification in the same show. (This shall not apply to additional duty compensation if the performer no longer functions in the additional duty.) If a performer is offered a new contract for a different show at a lower rate, said performer is guaranteed his former contractual rate of pay whenever substituting into his former show.

(F) Additional Compensation.

(1) Lead. A Lead is involved with, but not limited to, the following activities: administrative functions, communication of Company and performance information to the cast, show maintenance (e.g., brush-up rehearsals, emergency re-blocks and blocking notes), evaluation of performance conditions and training. A Lead is not a manager and shall not be involved in the administration of discipline. All performers who are designated as a Lead shall be paid additional compensation over and above their contractual rate, as follows:

9/16/12 9/15/13 9/14/14 9/13/15 9/11/16

$5.00 / hr $5.00 / hr $5.25 / hr $5.25 / hr $5.50 / hr

The above rate shall be combined with the performer’s contractual rate to become his actual hourly rate, subject to all overtime provisions.

(2) Dance Captain. Where there is choreography of such a nature that the maintaining of its original creative intent falls outside the duties of the Entertainment Manager or Lead, the Company will designate a Dance Captain on the first day of rehearsal. A Dance Captain is involved with the following activities as they pertain to dancers/performers: show maintenance (e.g.,

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brush-up rehearsals, emergency re-blocks, performance and choreographic notes), evaluation of performance conditions, and rehearsing new dancers/performers. All dancers/performers who are designated Dance Captains shall be paid additional compensation over and above their contractual rate, as follows:

9/16/12 9/15/13 9/14/14 9/13/15 9/11/16

$5.00 / hr $5.00 / hr $5.25 / hr $5.25 / hr $5.50 / hr


If a designated Dance Captain is absent for any reason for more than 7 calendar days, a temporary or replacement Captain shall be assigned from within the cast and paid the increment from the first day of assignment.

(3) Vocal Captain. Whenever three or more performers sing in harmony and maintaining the original creative intent of the vocal arrangements falls outside the duties of an Entertainment Manager or Lead, the Company will designate a Vocal Captain. A Vocal Captain is involved with the following activities as they pertain to singers/performers: show maintenance (e.g., brush-up rehearsals, emergency reassignments of vocal parts, performance and vocal notes), evaluation of performance conditions, and rehearsing new singers/performers. All singers/performers who are designated Vocal Captains shall be paid additional compensation over and above their contractual rate, as follows:

9/16/12 9/15/13 9/14/14 9/13/15 9/11/16

$5.00 / hr $5.00 / hr $5.25 / hr $5.25 / hr $5.50 / hr


If a designated Vocal Captain is absent for any reason for more than 7 calendar days, a temporary or replacement Captain shall be assigned from within the cast and paid the increment from the first day of assignment.

(4) Fight/Stunt Captain. The Fight/Stunt Captain is involved with the following activities as they pertain to Stunt Performers: show maintenance (e.g., daily fight/stunt run-through, brush-up rehearsals, emergency re-blocks and performance notes), evaluation of performance conditions, and rehearsing and/or training new stunt performers. (See Rule 26(B).) All performers who are designated Fight or Stunt Captain shall be paid additional compensation over and above their contractual rate, as follows:

9/16/12 9/15/13 9/14/14 9/13/15 9/11/16

$5.00 / hr $5.00 / hr $5.25 / hr $5.25 / hr $5.50 / hr


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In the event the person(s) designated as Fight/Stunt Captain is not present, a substitute will be assigned to fulfill these duties whenever a fight/stunt is being performed/rehearsed.

(5) Swings.

(a) Definition. A Swing is defined as a chorus performer who learns and covers more than one track in any assigned production(s). For purposes of this rule, a track in vocal groups shall be defined as a separate vocal line, e.g., Soprano 1, Soprano 2, Alto 1, Alto 2, etc.

(b) Pay. Swings shall be paid at the rate of 8% above their contractual rate of pay. Swing pay shall be paid to a performer other than a contracted Swing if the performer performs three or more tracks or roles in a single day.

(6) Acting Coach. When a performer teaches or coaches principal performer(s) in the creation of specific character development, such as creating the backstory and/or setting the scene, without any participation by a Show Director or Choreographer, or as assigned by the Show Director or Choreographer, and these responsibilities fall outside the duties of the Entertainment Manager or Lead, the following premium in pay will be applied to the hours worked in the Acting Coach capacity:

9/16/12 9/15/13 9/14/14 9/13/15 9/11/16

$5.00 / hr $5.00 / hr $5.25 / hr $5.25 / hr $5.50 / hr

(7) Stunt Increment. All performers who participate in stunts shall be paid the following stunt increment per performance in addition to their full contractual rate of pay. This rate shall be subject to overtime provisions for all performances for which time and one-half or double-time are paid.

9/16/12 9/15/13 9/14/14 9/13/15 9/11/16

16.00 16.00 16.25 16.25 16.50

17. SICK LEAVE.

(A) Eligibility. All performers shall receive sick leave based on the number of straight-time hours worked from the date of hire to the end of the calendar year in which hired and for each succeeding calendar year thereafter. Sick leave earned in the first calendar year of service may not be used until nine months of continuous service have elapsed from the date and in no event prior to the beginning of the calendar year following the year in which employed. A performer reclassified from Regular Part-Time or Seasonal/Temporary status to Regular Full-Time status shall receive credit for the number of straight-time hours worked in that calendar year provided he complies with the eligibility requirements herein.

(B) The following formula shall apply for the accumulation of paid sick leave hours each calendar year:

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Straight-time Hours Worked in Calendar Year

Earned Sick Leave Hours

1800 48

1500 40

1200 32

900 24

600 16

300 8

(1) The maximum amount of sick leave that may be earned in one calendar year is 48 hours. Unused sick leave may be accumulated up to a maximum of 160 work hours; any excess over this amount will be paid off at the end of the year. At the beginning of each calendar year, after the performer has completed the eligibility requirement, sick leave shall be made available for his use during that calendar year based on the above-noted hour formula in the prior calendar year.

(2) Sick leave shall be paid at the rate of pay in effect at the time sick leave is requested by the performer. In order to be paid sick leave, the performer must file a request for payment on the appropriate form and submit the form to his manager. This must be done within three days after the performer returns to work. In the event that three or more consecutive scheduled shifts of sick leave are applied for, the Company may request a written statement from a physician certifying as to the nature and length of performer’s illness. However, the Company may require proof of illness in any case if desired, and a performer not furnishing such proof will not be entitled to sick leave pay. Performers will not be entitled to sick leave during vacation or days on which they were not scheduled to work. In the event the performer incurs a non-occupational illness while at work and is released from the completion of his scheduled shift by the Medical Department, the performer may apply for sick leave covering the unworked balance of that shift in amounts of one hour. A performer who reports for work after the start of his scheduled shift due to personal illness shall not be entitled to apply for sick leave pay covering the period between the start of his shift and the time the performer actually started to work.

(3) A performer will be paid 100% of all earned sick leave and 50% of accrued sick leave upon termination except for dishonesty, intoxication, or illegal use or possession of controlled substances. Terminations for the three categories listed above will be paid 50% for all earned sick leave. No payment will be made for accrued sick leave.

(4) With reasonable notice, performers may request the use of seven days of sick leave per calendar year as personal leave days provided that the performer’s total sick leave bank does not fall below six days. Approval of the

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request shall be at the discretion of the Company, based upon a consideration of operating efficiency.

(C) Paid sick leave up to a maximum of six days per calendar year will be credited as time worked for purpose of vacation accrual for the following year.

(D) Performers with one or more years of continuous service who have earned sick leave available and have not received an attendance reprimand within the prior 12 months may use up to six paid sick leave days per year without incurring attendance notations for those absences.

18. HOLIDAYS.

(A) Holidays Observed.

There will be seven core holidays and three personal holidays.

(1) The core holidays are:

New Year’s Day

Martin Luther King Jr. Day

Memorial Day

Independence Day

Labor Day

Thanksgiving Day

Christmas Day

(2) The three personal holidays may be used on dates mutually agreed to by management and the performer.

(B) Eligibility.

(1) All Regular Full-Time performers are eligible for holiday pay after working 30 calendar days of continuous service, providing they work their scheduled days prior to and immediately following such holiday.

(2) If the performer’s failure to work his regularly scheduled day immediately before or following the holiday was due to personal illness, injury or death in the immediate family and the performer satisfied the Company in this respect, he shall be eligible to receive holiday pay.

(3) Performers on an authorized leave of absence of six days or longer are not eligible for holiday pay.

(C) Personal Holidays.

Effective January 1st of each year of this Agreement, all performers with one or more years of continuous service will be credited with three personal holidays. Performers with less than one year of service, and performers who are hired or converted from a Regular Part-Time or Seasonal/Temporary status to a Regular Full-Time status after January 1st, will be credited with one personal holiday on each

22

of the following posting dates: March 1st, June 1st, and September 1st. A performer must be statused as a Regular Full-Time performer on the posting date to receive the personal holiday.

Personal holidays shall require two weeks’ advance notice for scheduling and shall be granted consistent with operational requirements.

Personal holidays will be scheduled and taken within the following provisions:

(1) Must be taken within the calendar year;

(2) May not be carried over from year-to-year, or paid off at time of termination;

(3) Do not affect the use of sick leave days for personal time off;

(4) Will be considered as time worked for the computation of overtime; and

(5) May only be taken in one full day increment.

(D) Holiday Pay When Holiday is Not Worked. Each performer will receive eight hours pay at the performer’s regular straight-time rate for each such holiday not worked.

(E) Holiday Pay When Worked. Each performer who works on a recognized holiday, and who works his scheduled work day prior to and immediately following the holiday worked, shall receive eight hours holiday pay plus his straight-time rate for all hours worked in his scheduled work day.

(F) Double-Time Pay for Hours Over Eight Worked on a Holiday. Double-time the performer’s regular rate shall be paid for hours worked in excess of eight on a paid holiday.

(G) Holiday Pay Considered Time Worked for Computing Overtime. Pay for a holiday not worked shall be considered as time worked for purposes of computing overtime, unless the holiday falls on one of the performer’s two regularly scheduled days off or when a holiday falls during a vacation period. Pay for a holiday not worked shall not be used in computing overtime under the 6th and 7th day provision contained in Rule 30(A)(6), Rehearsal and Performance Work Rules.

(H) Holiday Pay for Holiday During Vacation. Should a holiday fall during the period of a performer’s vacation, the performer shall be granted an extra day’s pay, or the performer may, at his option, schedule an additional day of vacation.

(I) Day Holiday is Observed. Recognized holidays shall be observed on the date designated for observance by the Federal Government, except for:

New Year’s Day, which shall be observed on January 1st; Independence Day, which shall be observed on July 4th; and Christmas Day, which shall be observed on December 25th.

(J) No Holiday Pay for Performer Scheduled to Work Holiday and Who Does Not Work. A performer who is regularly scheduled to work on a recognized holiday and who does not work shall not receive holiday pay.

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(K) Holiday Pay on Day Off When Worked. If a holiday worked falls on one of the performer’s two regularly scheduled days off, he shall receive eight hours straight-time holiday pay, plus the rate he would have received if it had not been a holiday.

(L) Holiday Starts at 8:00 A.M. on Holiday. For the purpose of computing overtime pay for work on a holiday, the 24-hour holiday period shall commence at 8:00 A.M. on the holiday and terminate at 8:00 A.M. the following day.

(M)Contracted Regular Part-Time or Seasonal/Temporary Performers. Contracted Regular Part-Time or Seasonal/Temporary performers are not eligible for holiday pay, but will be paid time and one-half for all hours worked on any of the seven core holidays referenced in 18(A)(1).

(N) Non-ContractedSeasonal/Temporary Performers. Non-contracted Seasonal/ Temporary performers are not eligible for holiday pay, but will be paid time and one-half for all hours worked on any of the seven core holidays referenced in 18(A)(1).

19. VACATIONS.

(A) Eligibility.

(1) All performers shall receive a vacation based on the number of hours worked, from the date of hire to the end of the calendar year in which hired, and for each succeeding calendar year thereafter based upon the conditions set forth in this Rule.

(2) Vacation earned in the first calendar year of service may not be used until nine months of continuous service has elapsed from date of hire, and in no event prior to the beginning of the calendar year following the year in which employed. Vacations thereafter shall be on a calendar year basis.

(3) A performer reclassified from Regular Part-Time or Seasonal/Temporary status to Regular Full-Time status shall receive credit for the number of straight-time hours worked in that calendar year, provided he complies with the eligibility requirements in (1) and (2) above.

(4) Paid vacation will be credited as hours worked for accrual toward next year’s vacation allowance.

(B) Vacation Accrual Formula.

(1) Two week vacation accrual formula:


Paid Vacation Hours Earned

1800 80

1620 72

1440 64

1260 56

24



1080 48

900 40

720 32

540 24

360 16

180 8

(2) Performers will be eligible to take three weeks of vacation on January 1st of the calendar year in which the sixth anniversary of continuous service will occur. Three week vacation accrual formula:



1800 120

1680 112

1560 104

1440 96

1320 88

1200 80

1080 72

960 64

840 56

720 48

600 40

480 32

360 24

240 16

120 8

(3) Performers will be eligible to take four weeks of vacation on January 1st of the calendar year in which the 18th anniversary of continuous service occurs. Four week vacation accrual formula:



1800 160

25



1710 152

1620 144

1530 136

1440 128

1350 120

1260 112

1170 104

1080 96

990 88

900 80

810 72

720 64

630 56

540 48

450 40

360 32

270 24

180 16

90 8

(4) Vacations are not cumulative and must be taken within the calendar year the performer becomes eligible to take his vacation. Vacations not used within the calendar year in which the performer becomes eligible to take said vacation shall be deemed to be lost.

In the event a performer is precluded from taking his vacation in the calendar year in which it should have been taken due to operational requirements of the Company, said performer shall not lose the vacation, but shall be scheduled to take the vacation in the first calendar quarter of the following year.

(5) The Company may not grant, nor the performer request, pay in lieu of time off for vacation.

(6) Vacations will be paid at the straight-time rate in effect at the time the vacation is taken.

(7) Due to the nature of the Company’s operations and the requirement for specific skills, vacations will be scheduled by the Company. Management will make every effort to accommodate vacation requests with the exception that

26

the Company reserves the right to schedule vacations when performance areas are closed for rehabilitation or refurbishing. In such instances, the Company will give the performer as much notice as possible, but in no case less than two weeks’ written notice of the assigned vacation dates. In the event the Company cancels a previously scheduled vacation, the Company will reimburse the performer for any documented direct unavoidable losses (for example, the cost of non-refundable airline tickets).

(8) If a production cast is assigned a specific vacation period and any member of the cast does not have sufficient earned paid vacation hours, the Company may assign said performer to another performing job during that time. In no case under these circumstances shall there be an unpaid layoff during the term of the Individual Employment Contract.

(9) Vacation Requests. The performer shall give the Company six weeks’ written notice of the dates of a requested vacation, which dates shall be approved or not approved in writing by the Company within two weeks of receipt of the written request.

(10) Priority. Should two performers request the same vacation dates, priority will be given to the first request received. Performers with greater seniority will be given preference in the event of a conflict of dates affecting two or more performers, if requests are made at the same time. Seniority will be determined by Company hire date.

(11) At Termination.

(a) All performers who have been continuously on the payroll for nine months or longer and who terminate their employment shall receive payment for all unused and pro rata vacation hours based on the number of straight-time hours worked in accordance with the applicable foregoing formula. Where a performer who would otherwise be entitled to payment for vacation time under this Rule fails to give the requisite two weeks’ notice provided for under this Agreement, the amount of vacation to be paid will be reduced by eight hours for each day short of the two weeks’ notice. Where the number of vacation hours to be paid is insufficient to allow for this reduction, the sick leave payout, if any, may be reduced in accordance with this same formula.

(b) The performer will not lose his pro rata vacation allowance in the case of termination except if terminated for intoxication, dishonesty or illegal use or possession of controlled substances.

20. PENSION AND WELFARE.

(A) Equity-League Pension Trust Fund Contributions.

(1) Effective January 29, 1995, the Company agrees to make pension contributions to the Equity-League Pension Trust Fund (the “Fund”) on behalf of performers it employs within the jurisdiction of Actors’ Equity Association, at percentages set forth below. Accordingly, the Company agrees to be bound by

27

and hereby accepts the terms and conditions of the Agreement and Declaration of Trust, dated March 23, 1961, establishing the Fund, including all its rules and regulations and any and all amendments and modifications thereto which may be adopted by its Trustees during the term of this Agreement. Thus, the Company specifically acknowledges the terms of the Trust Agreement which are incorporated by reference and made part hereto and agrees, when employing performers covered by this Agreement within the jurisdiction of Actors’ Equity Association, to provide reasonable access to all information that the Fund may require, and to permit the Fund to conduct an audit of the Company’s payroll and wage records (at the Fund’s expense) to verify the accuracy of the contributions made.

(2) Contribution Rate. The Company shall make a contribution equal to 7.5% of all gross wages up to a maximum of 40 straight-time hours per week on behalf of each covered performer. It is agreed that such gross wages shall include any stunt increment paid on the first 40 hours.

(3) Contributions made to the Fund shall be paid over to the Fund’s office before the 15th day of the calendar month following the month for which the contributions are made. The Company and Fund shall agree upon the appropriate information and form which shall be forwarded with the contributions.

(B) Supplemental Workers’ Compensation. During the term of this Agreement, the Company will make contributions to the Equity-League Health Trust Fund for its Supplemental Workers’ Compensation plan (SWCP) on behalf of each performer who worked that week, as follows:

$5.00/week/performer who works

Such payments will be made on a monthly basis before the 15th of the calendar month following the month in which the performers worked. The Company and the Fund shall agree upon the appropriate information and form to submit with the contributions.

(C) Group Insurance.

(1) During the term of this Agreement, the Company will provide Group Insurance coverage to all eligible performers as defined by this Agreement, on the same basis as provided to employees covered under the Service Trades Council Union (STCU) Agreement. It is understood that all Equity performers who participate in any Company sponsored plan(s) do so on the same basis as STCU employees generally and that, therefore, future changes in such plans which are applicable to STCU employees generally shall apply equally and automatically to performers covered under this Agreement. By way of example, but not limitation, changes in such plan(s) may include termination in accordance with the terms of the plan, substitution of, or merger with, another plan or part thereof, improvements and modifications in the plan(s), creation of new plan(s), adjustments in contributions, etc.; all subject to the condition that

28

where the changes apply equally to STCU employees generally, the Company will not be obligated to bargain with Equity.

(2) Eligible performers shall be defined as performers whose employment status is Regular Full-Time, as defined under this Agreement. Eligible performers’ coverage shall become effective the first day of the month following completion of 90 days continuous service. The entitlement to benefits under any particular plan shall be determined exclusively in accordance with the plan terms and not by arbitration under this Agreement.

(3) In the event that a national health care program is enacted, the parties will meet to discuss the impact of the legislation.

(D) 401(k) Plan Contributions. The Company will make available payroll deduction for voluntary participation in the Equity-League 401(k) plan.

21. LEAVES OF ABSENCE.

(A) Temporary Leave of Absence. A performer’s request for a leave of absence not to exceed 30 days will be granted for good cause, if the performer’s services can reasonably be spared. All leaves of absence will be granted in writing. No leave of absence will be extended beyond 30 days except for compelling reasons. In the event that a non-medical leave exceeds 60 days, continuation of the performer’s health care coverage will be subject to COBRA.

(B) Leave to Accept Foreign Disney Employment. A performer accepting a position with a foreign Disney Theme Park or licensee shall be entitled to a leave of absence for a period not to exceed one year. During that period of time and provided the performer has completed the probationary period of employment, service shall be deemed to be continuous for purposes of retaining (though not accruing) eligibility for benefits. Should the performer’s leave of absence exceed 60 days, continuation of the performer’s health care coverage shall be subject to COBRA. A performer who is offered re-employment at the conclusion of his leave of absence which has been for more than 60 days, but less than one year, will be returned at no less than the rate at which he left, provided he returns to the same job classification.

(C) Medical Leave of Absence.

(1) A performer requesting a medical leave of absence must provide a written statement from his personal physician documenting the reason for the leave and the beginning date and estimated duration of the medical leave. Medical leaves of absence will not be approved without appropriate documentation.

(2) A performer who returns from medical leave of absence within one year will be returned to his prior position if available, or if that is not possible, in a role of a similar nature; or the performer may audition for a new role or show.

(3) A performer who fails to return from medical leave of absence, or to seek a release to return to work from the medical leave of absence will be considered to have voluntarily terminated.

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(4) A pregnant performer must provide a written statement from her personal physician documenting any medication which might reasonably affect her ability to perform her duties, work restrictions, and a designated date beyond which it is not satisfactory for her to continue working. A pregnant performer may continue employment as long as medically approved and her physical appearance in the designated costume for her particular work location does not detract from the image of the costume’s original theme design. The Company will find an alternative position for a performer who is displaced due to costuming restrictions. Reasonable efforts will be made to place the performer within entertainment, if work is legitimately available, before placing the performer in a non-entertainment alternative position.

(D) Medical Leaves Exceeding One Year. Those performers who have time on an occupational or non-occupational medical leave of absence that exceeds 12 consecutive months will have their employment with the Company terminated.

No Regular Full-Time performer shall be granted medical leaves of absence that total more than 15 months in any 24 month period.

(E) Leave for Compensable Injury. In the case of any performer on medical leave as a result of an on-the-job compensable injury, service shall be deemed to be continuous for purposes of retaining (though not accruing) eligibility for benefits. A performer returning from a leave for compensable injury will be placed in his original role or, if that is not possible, in a role of similar nature; or the performer may audition for a new role or show. A Regular Full-Time performer returning from leave for compensable injury that exceeds three weeks will, upon request, be granted up to four hours of rehearsal prior to returning to performance. During the rehearsal period, the Company may continue to assign the performer to light duty to complete the eight hour day.

(F) Jury Duty Leave. All Regular Full-Time performers are eligible for jury duty pay.

(1) The Company will pay a performer for his regularly scheduled work day, while serving on jury duty, provided such time shall not exceed eight hours in any day or 40 hours in any payroll week. Performers shall not be eligible to receive more than 20 days of jury duty pay in any calendar year. Deductions of jury duty fees will not be made unless service on the jury exceeds one week.

(2) If a performer is released from jury duty and four or more hours remain in his scheduled work day, he is required to return to work that day.

(G) Funeral Leave. All Regular Full-Time performers bereaved by the death of a member of their immediate family are granted time off with pay for time necessary to travel to and from the funeral location and attendance at the funeral.

(1) The deceased must have been a member of the immediate family household, such as spouse, child, mother, father, brother, sister, mother-in-law, father-in-law, grandparents, grandchildren or same-sex domestic partners. If a closer than normal relationship existed between the performer and the

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deceased other than those named, consideration will be given toward the granting of funeral leave pay.

(2) Funeral leave shall be paid up to a maximum of five days. Payment is available for scheduled work shifts which the individual misses due to travel time and attendance at the funeral, and will be based on the performer’s current rate. The relationship of the deceased and the location of the funeral must be noted on the request for funeral leave pay status.

(3) A performer who is on an authorized leave of absence is not eligible for this benefit, except that in the case of a performer who is on a leave of absence to care for a relative covered above, the performer will be eligible for funeral pay in the event of the death of that relative.

(H) Family and Medical Leave Act of 1993. The parties agree that the terms and conditions of this Agreement shall not conflict with provisions of the Family and Medical Leave Act of 1993.

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SECTION IV. CONDITIONS

22. COSTUMES AND MAKE-UP.

(A) Costumes. The Company shall furnish performers with all costumes and clothes, period or modern, including wigs, hats, beards, hairpieces, tights and footwear. New hose, stockings, socks, bras, dance belts or equivalent shall be provided by the Company if called for by the nature of the costume or the performance conditions. Costumes shall be replaced upon signs of excessive wear. Said costumes remain the property of the Company and the performer will be fully responsible for the proper treatment of the costume and shall not wear a costume or shoes off the WALT DISNEY WORLD RESORT premises without proper authority.

(B) All costumes shall be available to the performer at least two days in advance of first public performance. For new Convention/Industrial/Special Event productions, all costumes shall be available at least two days in advance of the performance whenever possible. For all other Convention/Industrial shows, the Company will make every effort to have costumes available at least one day in advance of the performance.

(C) Cleaning. All wardrobe, including those items in Rule 22(A), shall be clean, dry and odor-free prior to each work day when given to a performer and cleaned thereafter whenever necessary as provided below:

(1) Cleaning of Costumes. Cleaning of costumes shall be completed in sufficient time to permit proper airing and drying of costumes prior to show time.

(2) Skin Parts Clean and Dry. Shirts, blouses, tights, bras, socks and other skin parts shall be cleaned and dry daily prior to being given to the performers, and the Company shall make every effort to issue dry shirts, blouses, tights and other skin parts before each show.

(3) Individually Assigned. Skin parts, including undergarments (excluding T-shirts and socks unless required by the performance), body suits, stockings, tights, dress shields, bathing suits and slips shall be individually assigned and shall not be switched from one performer to another.

(4) Props. Costumes, wigs, headgear, etc. utilized as props shall be cleaned as necessary, but no less than every three months.

(D) Protective Wear. Prior to any activity that requires knee and elbow pads or protective wear, the Company shall furnish new and properly fitted (i.e., small, medium or large) items for the exclusive use of the performer for all rehearsals and performances.

(E) Swings, Understudies and Substitutes.

(1) Regular Swings, Understudies and Substitutes shall have a full set of costumes, including shoes. Where substitute performers do not have a full set of costumes, all costumes provided will be freshly cleaned before and after the performance day. A Substitute shall be provided with properly fitted footwear

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and sanitary wigs. No performer shall be required to wear a costume that has not been cleaned since its use by another performer.

(2) Substitute performers who are scheduled or called in on an average of once per week during a calendar quarter will be assigned one full set of costumes, including shoes, for each role and/or track performed, no later than the beginning of the calendar quarter immediately following. If the performer is not scheduled or called in on an average of once per week during that calendar quarter, the performer’s costumes will be returned to the sub line.

(F) Shoes. The Company shall provide the appropriate footwear for the location and tasks to be performed; clean, sanitary, of proper fit and in good repair. Shoes shall be individually assigned and shall not be switched from one performer to another. Shoes shall be replaced when their condition so warrants. Upon initial distribution to each performer, shoes will be new. For non-dance staging or where there is minimal choreographed movement in Convention /Special Event shows only, novelty or specialty footwear* may be reassigned so long as the shoe still provides adequate support for the level of choreography and provided it shall be cleaned and disinfected between use by different performers. (*Examples of novelty or specialty footwear which may be used for minimal choreographed movement are Wolverines, Doc Martens, Director’s or riding boots. Color coordinated pumps may be reissued only for non-dance staging.)

(1) Dance Footwear. All footwear used for dancing shall be new and properly fitted professional dance shoes, and shall be furnished to the performer at least one week prior to dress rehearsal, whenever possible. All assigned footwear shall be appropriate for the choreographic requirements. Such footwear shall be flexible, rubbered and braced when necessary, and specifically constructed for dance when used for contemporary theatre movement, i.e. classical ballet, modern, jazz, ethnic, etc. Footwear will be replaced upon signs of tearing or excessive wear. During rehearsals the Company shall provide pointe shoes for each performer assigned to dance in pointe shoes.

(2) New Shoes Issued. All new dance and tumbling footwear shall be issued to the performer one week prior to the current footwear being taken for repair or replacement.

(3) Stunt Footwear. The Company will provide for all stunt performers, including tumblers, appropriate footwear which is designed to provide appropriate support and traction to reduce slippage on apparatus and matting surfaces. Footwear should fit properly and will be replaced upon signs of tearing or excessive wear.

(G) Masks. Masks, where required, shall be constructed to allow heat ventilation and so as not to unduly impair vision or breathing. Masks utilized in performance other than Conventions and Special Events shall be individually assigned and shall not be switched from one performer to another. Masks shall be fan-dried between performances and shall be cleaned and disinfected at least once per week. When used for Conventions or Special Events, masks shall be cleaned and disinfected between use by different performers.

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(H) Hats and Headgear.

(1) Hats and headgear shall be constructed to allow heat ventilation, and so as not to unduly restrict hearing or vision. Lightweight construction material will be utilized.

(2) Hats shall be individually assigned and not switched from one performer to another. Hats and headgear shall be cleaned and/or disinfected at least once a week. When used for Conventions/Special Events, hats and headgear shall be cleaned and disinfected between use by different performers.

(3) The Company shall consider performer requests to provide an appropriately themed hat for protection from the elements.

(I) Costume Design and Weight.

(1) For those shows which are performed out of doors, the Company will provide costumes of design and weight, or modifications thereof, appropriate for the season.

(2) The Company will accommodate movement and ventilation requirements in the design and construction of costumes.

(J) Hair.

(1) The performer may not be required to change the color of his hair unless agreed to in writing. If the performer does so agree, the Company shall provide and pay for the original expense of the color change and of the color maintenance during the term of employment and of the restoration to the original color at termination of employment. The Company, in its sole discretion, shall determine where the hair coloring and maintenance is done.

(2) In the event that the Company requires the performer to change his hair style, the Company shall provide and pay for the original expense of the change. Maintenance of the new hair style, with the exception of permanents, shall be the responsibility of the performer during the term of employment.

(3) Performers shall not change their hair color or style unless approved in advance by the Company.

(K) Make-up. The Company shall furnish all make-up except ordinary and conventional street make-up. If the performer is required to use body make-up, the Company shall furnish appropriate remover and a fresh supply of towels.

(L) Wigs, Beards, Moustaches and Hairpieces.

(1) Wigs, beards, moustaches and hairpieces shall be individually assigned and shall not be switched from one performer to another. Wigs, beards, moustaches and hairpieces shall be maintained on a daily basis and cleaned whenever necessary, but no less than once per week.

(2) Performers may do minor maintenance on a wig, beard, moustache or hairpiece before or between performances.

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(M)Unit Acts. A performer or performers who are contracted as an individual “unit act” or a specific specialty may provide their own costumes, props and shoes appropriate to the act, provided the Company does not require any changes or alterations in the existing costumes. Provisions for basic cleaning and repair of costumes shall be incorporated in the Individual Employment Contract.

(N) Performers who are required to provide personal clothing to be worn during a performance shall be paid the following amount per outfit per performance day:

Casual Wear $15.00

Business, Evening and Formal Wear $30.00

Foot Wear $10.00

23. PROPERTY.

The Company shall reimburse the performer for all loss and/or damage to the performer’s property which is required by management to be used in connection with any production covered by the Agreement. Lockers shall be provided, convenient to the permanent dressing rooms, for the performers’ personal belongings.

24. SAFE AND SANITARY.

It is in the best interest of both the Company and the performer to maintain performance quality and to protect the health and well being of the performers. Therefore, the Company shall provide the performer with safe and sanitary places and conditions of employment.

(A) Weather Conditions. The Company reserves the right to make the final decision as to whether a show will go on as scheduled, but in making such decision, it will consider extreme weather, performance location conditions, and the physical welfare of the performers.

(B) General Standards.

(1) Separate and clean dressing rooms and toilets for male and female performers will be provided. These shall be separate from guest facilities at all permanent show facilities. For definitional purposes for this rule, "permanent" is defined as a facility in continuous use for 13 or more weeks and "temporary" is defined as a facility in continuous use for 12 weeks or less.

(2) The Company will provide separate shower facilities for men and women with hot and cold running water, which facilities shall be located in each major Park/Resort area.

(3) Cleaning. All permanent green rooms, dressing rooms, toilets, and shower facilities shall be cleaned by Company cleaning staff as often as necessary, but at least every other day. Waste baskets shall be emptied daily as needed. Floors shall be washed or vacuumed at least once a week. Soft or padded furniture shall be shampooed no less than once every two months. Each performer shall be responsible for keeping his area orderly.

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(4) Access. Alleys and roads leading to permanent performance and rehearsal areas shall be accessible and properly lighted. Runways between permanent dressing rooms and the stage shall be paved or boarded, clean, dry, and free of obstacles. If runways or paths between dressing/break rooms and the performance space are not covered, umbrellas shall be issued. Dressing room entrances, windows and runways shall be properly masked from outside view to insure the performer’s privacy.

(5) Fresh, chilled drinking water shall be provided at all rehearsal and performance areas. Coolers and fountains shall be cleaned and maintained regularly.

(6) When operational necessity dictates the temporary reassignment of dressing rooms, the performer will receive as much notice as possible of the reassignment and will receive assistance from management in making a smooth transition.

(7) A keyboard that is accessible to all performers will be provided at each stage where necessary, for groups and vocalists involved in musical productions. It is understood that this agreement will apply to all current musical productions in operation and any future musical productions that are developed during the life of this Agreement.

(C) Permanent Dressing Rooms at Show Location.

(1) Dressing rooms at regular show locations (except quick-change booths) shall be of a permanent type, and shall not be under canvas. The Company will provide dressing rooms for performers at or near performance locations.

(2) Green Room/Break Room. A Green Room/Break Room will be provided for each show, whenever possible. This room will be air conditioned, heated and provided with adequate seating. The Company shall provide 24 hour access to an outside telephone line.

(3) Lighting. Adequate peripheral lighting shall be provided for make-up purposes. The use of fluorescent lighting is not acceptable for make-up purposes.

(4) Ventilation. All dressing rooms shall be air conditioned or heated to a comfortable temperature. All vents and ceiling fans shall be cleaned on a regular basis. In the event of a breakdown of the main equipment, the Company shall immediately provide back-up devices in dressing rooms to insure a healthful atmosphere. In the event of prolonged delay in repairs, the Company shall make available safe and sanitary dressing facilities at the performance location. Such facilities may be portable.

Heating and ventilation systems shall be cleaned on a regular basis. The Company will also use such methods as are reasonably available to attempt to control mold and mildew.

(5) Standards. The Company will ensure that the following standards shall apply to all performance locations constructed after the initiation of this Agreement:

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(a) Separate facilities shall be provided for male and female performers with sinks and toilets in each facility, which shall be clean and sanitary and will be separate from guest facilities;

(b) Toilets shall be in separate rooms or, if within the dressing rooms, shall be in permanent enclosures;

(c) Hot and cold running water shall be available in or reasonably convenient to the dressing rooms.

The Company agrees that, wherever possible, existing facilities will be brought up to these standards in locations where these standards are not already met.

(D) Temporary Dressing Rooms at Show Locations.

(1) Temporary dressing rooms shall be safe, sanitary, mechanically ventilated, and reasonably constructed. They shall include adequate make-up tables with lighted make-up mirrors (which may be portable), adequate chairs (which may be of the folding type) and water for drinking and make-up purposes (which need not be “running”). Separate dressing facilities apart from guest access areas, shall be provided for men and women, which may be accomplished by means of a curtain.

(2) Provision shall be made for the security of the performer’s personal valuables. This may be a lockable hotel room for which the Lead will be given the key or a locked road box made accessible to the performers.

(E) Permanent Rehearsal Facilities. The Company shall make available a variety of adequate permanent rehearsal spaces on property. Said rehearsal spaces shall be clean, safe and sanitary, well lit, equipped with mirrors and rehearsal barres. Furthermore, the Company shall make every effort to ensure the following standards are met at permanent rehearsal spaces on property:

(1) Dance Floors. In all permanent rehearsal spaces, flooring for dancing shall be constructed to have elastic resilience at all points under the impact of a foot. The construction of a solid layer of relatively incompressible materials (including wood) in direct contact between the flooring and the stage floor structure shall be avoided.

(2) Separate changing rooms shall be provided for male and female performers with lockers, sinks and toilets in each facility, which shall be clean, safe and sanitary and will be separate from guest facilities;

(a) Toilets shall be in separate rooms or, if within the changing area, shall be in permanent enclosures;

(b) Hot and cold running water shall be available in the changing rooms.

(3) The Company will see that all permanent rehearsal spaces are air conditioned or heated to a comfortable temperature. In the event of a breakdown of the main equipment, the Company will provide back-up devices as quickly as possible.

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(F) Stage Facilities. All stage facilities shall be clean and safely maintained and will be provided with, among other things, the following devices:

(1) Lighting. All ramps, stairways, entrances and exits, cross-over areas, or off-stage passageways, which may be affected by blackouts, shall be illuminated with guide lights.

(2) Aisles. Aisles shall be maintained in a firm and even condition and, if not constructed of a hard surface such as concrete, asphalt, or macadam, must be covered and the coverings be secure.

(3) Platforms. Platforming must be securely fastened and the surface completely covered by a deck of material such as wood or masonite. The edges of all decks must be clearly outlined and visible or, if not, guard rails shall be fastened in order to reduce the possibility of injury. A six inch high kick-plate must be secured to all up-stage edges whenever a wall or hard scenery does not delineate the up-stage edge of the platform or stage. (This kick-plate may be used in place of up-stage guard rails.)

(4) Surfaces. All stage and platform surfaces must be dry, clean, and grit free prior to the beginning of a performance. All climbing and ladder surfaces must be dry and clean. All stage and platform surfaces shall be free from protruding nails, screws, staples and the like, and shall be in a smooth, even and undamaged condition. Outdoor stage, platform, and tumbling surfaces shall be grit free and treated in such a way as to minimize the effects of extreme weather conditions, including heat and moisture.

(a) Center Line. All stage, platform and rehearsal facilities must have a center line on the floor, from the center front of the stage to the center rear of the stage, which delineates the center of the stage.

(b) Spacing Line. On all staging and platforming that is used for dance, in addition to the Center Line, a horizontal line must be placed on the floor from stage left to stage right at the front edge or apron of the stage. Said Spacing Line shall be marked off in visible one foot intervals moving away from the Center Line. Every even numbered foot shall be marked with the appropriate number of feet from the Center Line.

(5) Dance Floors. All flooring used for dancing shall be constructed to have elastic resilience at all points under the impact of the foot. The construction of a solid layer of relatively incompressible materials (including wood) in direct contact between the flooring and the stage floor structure shall be avoided.

(6) In those performance and rehearsal locations where no stage structure or platforming exists, the Company, whenever possible, will provide or construct of wood a smooth, level surface appropriately marked. Where there is no wood platforming, or where such platforming is laid directly on concrete or other incompressible material, the Company will then make all necessary modifications to the choreography and/or shoes and will monitor performance and rehearsal conditions with respect to the physical welfare and safety of the performer.

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(7) Tumbling Surfaces. All tumbling surfaces shall be provided with appropriate tumbling mats which meet U.S.A.G. or N.C.A.A. standards and which are dry and clean prior to the beginning of a performance or rehearsal.

(8) Backstage and Wing Space. The Company will make every effort to provide a path, marked in white and lit as needed, through the backstage or wing space areas of all permanent stage facilities.

(9) Ventilation. For all permanent stage spaces, which are not air conditioned, the Company will make reasonable efforts to provide appropriate mechanical ventilation and exhaust systems. Where the equipment is readily available, the same will be done for temporary stage spaces.

(G) First Aid.

(1) The Company agrees to provide first aid facilities and ambulance service on property.

(2) Ice Packs. The Company agrees to provide ice packs, which are easily accessible, at all performances and rehearsal spaces for immediate application to injuries.

(3) Eyewash. Eyewash bottles will be provided immediately off stage at all locations where pyro is used.

(4) The performer will notify the appropriate manager of any accident or injury. The Company will arrange appropriate emergency medical treatment as soon as possible. Performers will complete all required forms.

(H) A monitor system shall be installed between the stage area and the dressing room, where practical, so that performers can follow the progress of the performance.

(I) Smoking Area. In performance locations and rehearsal halls where smoking is permitted, an area shall be designated by the Company as a smoking area and smoking shall not be permitted outside said area. Such designated smoking areas shall not be immediately adjacent to any entrance(s) to green rooms, break rooms, dressing rooms, or stage areas. There shall be no smoking in dressing rooms. For Conventions/Industrials/Special Events, smoking areas shall be designated by the management of the venue location.

(J) Special Effects. Special effects such as, but not limited to, stage smoke, fog effects, pyrotechnics, and lasers will be safely maintained and operated by trained personnel. Adequate ventilation and exhaust equipment will be operational when smoke or fog is used.

(K) Bare Feet. No performer shall be required to leave the stage or backstage area or mix with the audience in bare feet on inappropriate, unclean or hazardous surfaces.

(L) Inclined Playing Surface. No stage shall have an inclined playing surface greater than ¾ inch per foot. The Company will provide special instruction on inclined playing surface performance as determined by the Company and Equity to

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be appropriate to maintain the health and safety of the performers and the quality of the show.

(M)Firearms. The Company will provide safety information to performers when firearms are used in performance.

25. PERFORMANCE RISKS.

(A) Definition. Performance Risks are defined as performing acrobatic feats; suspension from trapezes, wires or like contrivances; the use of and/or exposure to weapons, fire or pyrotechnic devices; the taking of dangerous leaps, falls, throws, catches, knee drops, or slides; and the performance of stunts.

(B) Determination. The Company reserves the right to determine when a performance risk exists and shall notify Equity and the performer through a rider to the performer's contract that such a risk exists. Should Equity believe an act to involve performance risks, it shall so state to the Company in writing. With such notification, Equity may request an immediate meeting with the Company, to occur within two days of the request. If the Company and Equity cannot agree on the determination, Expeditious Arbitration shall be utilized to resolve the dispute.

(C) A performer who agrees to perform performance risks must agree to do so in a rider to his contract which fully describes the act.

(D) Subsequent to Contract Signing. No performer shall be required to perform performance risks as a condition of employment where determination of such risk has been made after the contract has been signed. If the performer agrees to perform the risk, a rider to his contract must be executed and a copy filed with Equity.

If the performer involved does not agree to perform the performance risks one of the following shall apply:

(1) In the case of a Special Event, the performer shall be relieved from any obligation to perform the risk, either by the action being modified to reduce the risk, or by the performer being replaced in the Special Event with no negative impact on his employment record.

(2) In the performer’s statused show, either the activity shall be modified to reduce the risk, or the performer shall be transferred to another show, if possible, or the performer’s contract may, by mutual consent, be terminated with no less than two weeks’ notice plus payment by the Company of an additional week’s salary as compensation for relocation expenses.

26. STAGE FIGHTING OR STUNTS.

A stage fight shall be defined as any directed or choreographed proximate physical action involving two or more people (including people from other bargaining units), done in sequential order, that creates the illusion of either comic or dramatic violence. This may include slapstick, use of props or weapons, set pieces or human interaction. The actions in sequential order may be done to counts or may be spontaneous.

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The following regulations shall be followed whenever a production requires stage fighting or stunts, with or without weapons:

(A) The performer shall agree in a rider at the time of the contract signing to participate in stage fighting or stunts. When a performer has already signed his contract, he may still agree to participate in such activity provided a rider is executed to that effect. All such riders shall describe the stage fight or stunt and specify the amount of additional compensation, if any, which shall be paid for participation in stage fighting or stunts. Equity shall receive a copy of all such riders.

(B) If the production or cast has three or more performers who participate in stage fights or stunts, a qualified* Fight/Stunt Captain shall be assigned to each cast by the first rehearsal. Equity shall be notified within one week of the assignment by rider to the Individual Employment Contract.

* A Fight/Stunt Captain shall be deemed qualified when he has, through industry recognized training and experience, proven ability to perform and supervise the maintenance of safe stage fighting or stunt-work.

(C) All performers who participate in stage fighting or stunts shall normally run through the routine before the first performance of the day, or when a cast change is made. The Fight/Stunt Captain shall lead such run throughs. Any exception to this rule shall be discussed by the Fight/Stunt Captain and Management.

(D) Stunt performers, stage fight performers, and understudies/replacements shall be coached by the Fight/Stunt Captain. At least once prior to the understudy’s/replacement’s performance in any role, the Fight/Stunt Captain will rehearse those stunt performers affected by the understudy/replacement.

(E) All stunt rehearsals shall utilize U.S.A.G. approved or equivalent tumbling mats and equipment. Where mats and/or equipment are used in performance, such items shall be U.S.A.G. approved and determined to be appropriate for the stunt by the stunt coordinator.

(F) Proper first-aid information shall be posted and equipment (including ice packs) shall be available at any rehearsal or performance site where stage fighting or stunts occur.

(G) The Fight/Stunt Director or Coordinator and the Fight/Stunt Captain shall consult with all other artistic personnel prior to the first rehearsal in order to achieve the optimum degree of safety.

(H) If the actual set is unavailable, the Company shall make available duplicate equipment: trampolines; teeter boards; mini tramps and skeleton scaffolding for climbing or high leaps and falls. All appropriate mats (i.e., tumbling, landing and crash mats) shall be readily accessible, (and in undamaged condition), for these rehearsal and warm-up purposes.

(I) All equipment used in any stage fight or stunt shall be checked for safety purposes prior to each use.

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27. FILMING/VIDEOTAPING.

(A) The Walt Disney Company, or its authorized agent, may film, videotape or record in any format performers engaged in their contractually assigned performance duties without additional compensation, for publicity and/or direct promotion* of the Walt Disney Company theme parks, (i.e., the WALT DISNEY WORLD RESORT, DISNEYLAND, TOKYO DISNEYLAND or DISNEYLAND PARIS ).

* It is agreed that publicity and/or direct promotion does not include any retail sale.

Examples of publicity/direct promotion include:

(1) radio and television commercials.

(2) promotionals created for travel agencies and Conventions.

(3) closed circuit television hotel programming for Disney owned hotels or hotels on the property of the Walt Disney Co. or any of its parks, or Hotels with a participation arrangement with Disney.

(4) in-house/participant documentaries, archival footage and industrials.

(5) archival footage for convention and wedding clients (the Company shall notify the client that said tape may only be used as an archival record and may not be used for commercial or industrial purposes).

(6) specials, parades, and grand openings promoting Disney theme parks, (i.e., Walt Disney World Christmas Special, etc.).

(7) a co-promotion of Disney theme parks with any commercial entity.

(8) a home video promotion of Disney, which promotes the Disney theme parks.

(9) network news or newsmagazine shows.

It is understood that restaging or rescheduling may be required and that said publicity and promotional materials may be used on radio, television (network; cable, including premium channels such as The Disney Channel; and syndicated) or internet type communication media which is available to the public at no charge, without limitation. It is also understood that pay-per-view is not considered publicity under this article.

(B) Film and Videotape for Use in Productions.

(1) A performer may be required to participate in a taping or filming for use as an element in the production of the performer’s statused show. Such film or tape may be used during the period in which the performer is employed by the Company. When employment is terminated, use of such film or tape may not exceed one year from the date of such termination.

(2) A performer may also be taped or filmed for use in a production which is not the performer’s statused show. When taped or filmed under this paragraph, he will be compensated for continued use of the tape or film at the rate of $150.00 in addition to the appropriate hourly rate. Said payment provides for unlimited use of said tape or film for a period not to exceed three years from the date of

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taping or filming. If the Company wishes to use said recording beyond this date, the Company shall negotiate with the performer for said usage but the performer is not obligated to agree to such additional usage.

(3) Taping or filming of a performer for use in a production other than the performer’s statused show shall be voluntary. Prior to any filming or taping session under (2), the performer shall be issued a rider which shall specify that the filming or taping is under (2) above.

(C) General Provisions.

(1) When a performance is to be taped or filmed, performers will be notified at least 24 hours in advance if any lighting or effects will be changed to accommodate the filming or taping. Where a production contains choreography or stunt work, and any additional lighting equipment will be used for the filming or taping, the performers will be given the opportunity to view the stage under the new lighting conditions prior to the performance.

(2) Stunt Pay. When a special filming or taping session is scheduled, the stunt increment shall be paid for each hour of the filming or taping session in which the stunt performers participate.

(D) Any Other Filming/Videotaping. No performer shall be required to do any filming/videotaping not set forth in Section (A) or (B) above, unless said filming/videotaping is paid pursuant to or the equivalent of, the then applicable SAG/AFTRA contract rate.

(E) Notification.

(1) The Company will provide at least 24-hours advance notification to all performers of filming, videotaping, or recording in their respective area, with a copy to Equity. Such notification will be posted on the call board at each affected performance location and shall include the following information: date (and time, if known), location, cast involved, production company, and client or name of production. The stage management and/or film or taping crew should have proper identification visible to the performers. Where the written notification has not been issued or is not at the location or in the possession of the film or taping crew prior to the beginning of the performance, then filming, videotaping or recording will be delayed until the Company can verify the appropriateness of the filming, videotaping or recording.

(2) The Company will provide no less than two business days individual notice to all performers involved in a filming, videotaping, or recording as prescribed in (A)(1) and (A)(7).

(3) The Company will make reasonable effort to accommodate any performer who does not wish to be filmed, taped or recorded for commercials or co-commercials per rule 27(A)(1) and (A)(7).

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28. AUDIO TAPING AND VOICE-OVERS.

(A) Required Recording Sessions.

(1) A performer may be required to participate in group vocal recording sessions solely for the purpose of making a back-up or “sweetener” tape for the performer’s statused show. A Principal performer may be required to record a lip-synch tape solely for the purpose of back-up for the performer who has made the tape. Such recording sessions may be held during regularly scheduled rehearsal hours and will be paid at the appropriate straight-time or overtime rate. Should the Company decide, after the fact, that it wishes to use said tape as a lip-synch tape for another performer, the Company shall negotiate with the performer for said usage but the performer is not obligated to agree to such additional usage. If the performer agrees by means of a rider to the additional usage, the negotiated fee shall be not less than the fee for voluntary recording session in (B) below. No other usage shall be permitted. When the performer’s employment is terminated, the use of said lip-synch tape shall not exceed two years from the date of such termination.

(2) A performer scheduled to perform at a Convention/Special Event may be required to participate in a voice-over recording session as an element of that event without additional compensation. The recording session will take place during the performer’s Convention/Special Event. If the Convention/Special Event spans more than one day (e.g. “Star Wars Weekends,” “Super Soap Weekend”), the performer whose vocal recording is to be used must be present for each day of the event for which the recording is used. Should the Company decide, after the fact, that it wishes to use said recording for subsequent Conventions/Special Events, the Company shall negotiate with the performer for said usage but the performer is not obligated to agree to such additional usage. If the performer agrees by means of a rider to the additional usage, the negotiated fee shall be not less than the fee for voluntary recording session in (B) below.

(B) Voluntary Recording Sessions. Recording sessions for any and all other purposes shall be voluntary and shall be paid at no less than $165.00 per hour with a minimum two hour call. No other overtime rules are applicable to this rate, e.g., double-time on seventh consecutive day worked. Should such recording session take place during the regularly scheduled work day, the above recording rate will be paid in addition to all straight-time due.

Said payment provides for unlimited use of said recording with no subsequent payments. In the event that said recording is used for retail, the performer will be paid a one time only fee equal to the original amount paid for the recording.

(C) Prior to any recording session under either (A) or (B) above, the performer shall be issued a rider which clearly states which rule governs the recording session.

(D) The Company shall decide whether to record under Rule 28(A) or request recording under Rule 28(B), or to record independently in developing lip-synch or

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“sweetener” tracks. The performer may be required to use any tape designated by the Company.

(E) Excluding third party recording sessions, recording sessions scheduled under (B) above that are cancelled with less than 24-hours notice shall be paid at the rate of $165.00 per hour for a minimum two hour call up to one-half of the booked session, which payment shall not exceed four hours maximum.

29. PHOTOGRAPHS AND PUBLICITY.

(A) Photographs. Photographs of the cast and production may be taken for the purposes of publicizing and advertising the WALT DISNEY WORLD RESORT. Photographs in non-performance related situations are voluntary.

(B) Photographic – Retail Sale.

(1) Authorization. The Company must obtain the performer’s written authorization by way of a contract rider before the performer’s picture may be used in conjunction with a retail product and said authorization must specify the retail product involved.

(2) Usage Fee. If the performer consents to the use of his name or photographic likeness, as aforesaid, the performer shall be paid a usage fee of not less than $150.00 for each negotiated use.

(3) Compensation for a Photo Call. In addition to the usage fee, photo calls for the purpose described above shall be compensated as follows:

(a) For a scheduled photo call of a performer in a regularly performed role:

(1) If the photo call is within the performer’s scheduled shift and the performer has performed all of his scheduled shows, he will be compensated at the appropriate overtime for a minimum of one hour.

(2) If the photo call is within the performer’s scheduled shift but is replacing a scheduled show, the appropriate matrix time will be applied.

(3) If the photo call is contiguous to a performer’s scheduled shift, the performer will be paid at the appropriate overtime for a minimum of one hour.

(4) If the photo call is not contiguous to the scheduled shift, the performer will be paid for a four hour call at the appropriate overtime.

(b) If a photo is taken of a performer during a regularly scheduled performance, there will be no additional compensation.

(c) For a scheduled photo call of a performer outside of a regularly performed role, the performer shall be compensated at a rate of $50.00 per hour at time and one-half for a minimum of two hours.

(C) Notice. Whenever possible, 24-hours written notice for all photo calls will be given to performers.

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(D) Performers who do not wish their photos used in publicity and/or advertising after terminating from the WALT DISNEY WORLD RESORT may notify the Company in writing of such desire, and when the material is next printed the photo will be removed.

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SECTION V. WORK RULES

30. REHEARSAL AND PERFORMANCE WORK RULES.

(A) Scheduling.

(1) Span of Day. Normally 8 out of 9 hours. (See individual schedule matrix.)

(2) Days Off. The performer shall normally be scheduled two days off in each week of rehearsal or performance or combination of both. Days off need not be consecutive. Except where management has determined that days off must be assigned, performers shall have the opportunity to bid for days off, once per year, within one month after contract renewal at each stage or location. If a conflict exists between two performers as to day off preference, the performer with the greater seniority shall prevail. Seniority shall be determined by Company hire date.

(3) Change of Day(s) Off, Scheduled Work Day, or Work Times.

(a) Change in day(s) off – additional work assignment. The Company will issue schedules two weeks in advance of the work week for Regular Full-Time, Regular Part-Time, or contracted Seasonal/Temporary performers.

A Regular Full-Time performer who receives a change in his day(s) off schedule shall be notified as soon as possible in writing, but no less than seven days prior to the affected work day, bona fide emergencies* excepted.

A Regular Part-Time or contracted Seasonal/Temporary performer who receives a change in his regularly scheduled work day(s) shall be notified as soon as possible in writing, but no less than seven days prior to the affected work day, bona fide emergencies* excepted.

(b) Notice of a change in scheduled work day times for Regular Full-Time, Regular Part-Time, and contracted Seasonal/Temporary performers shall be given in writing as soon as possible, but no less than seven days in advance of the affected work day, bona fide emergencies* excepted. The Company will notify the performer of a change in the number of scheduled performances as soon as possible. (See Rule 30(A)(4)(b).)

(c) Failure of notice. Failure of the Company to comply with the above minimum notice to Regular Full-Time, Regular Part-Time, and contracted Seasonal/Temporary performers will result in payment of appropriate overtime for the affected work day(s) unless such failure is a result of a bona fide emergency.*

(d) Regular Part-Time and Seasonal/Temporary Performers. Any Regular Part-Time or Seasonal/Temporary performer who accepts work assignments with less than seven days notice, in addition to their regularly scheduled work day(s), will be paid at the appropriate straight-time rate, unless modified by (A)(5)(a).

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(e) Notice of Cancellation for Regular Part-Time and Seasonal/Temporary Performers. Notice of cancellation of a scheduled work day or scheduled overtime for any Regular Part-Time or contracted Seasonal/Temporary performer on a non-regularly scheduled day or for a non-contracted Seasonal/Temporary performer, shall be given as soon as possible, but with no less than 72-hours notice in advance of the affected work day, bona fide emergencies* excepted. Such scheduled time canceled with less than 72-hours notice shall be paid at the rate it would have been paid if the time had been worked.

(f) The performer(s) will notify the Company of a call in/call sick no less than one hour prior to his call time, regardless of time of day. The Company will designate the specific number for the performer(s) to call. Failure to call in/call sick one hour prior to the call time may result in discipline according to the Attendance Guidelines established by the Company.

*A bona fide emergency is defined as unforeseen circumstances or conditions beyond the control of management, such as acts of God.

(4) Turnabout Procedure.

(a) A performer released from work with less than eight hours until the beginning of the next call, shall be placed on continuous shift upon return to work and will be paid the applicable overtime commencing with the ninth cumulative hour paid.

(b) The Company may adjust the span of day, including the call time and/or release time, of a performer’s schedule up to one hour without notice when the sole purpose of such adjustment is to provide eight hours between release time and call time of the succeeding shift. (See Rule 30(A)(4)(a).)

(5) Overtime.

(a) Overtime will be paid at time and one-half for work beyond eight hours per day, and/or 40 hours per week (payroll week of Sunday through Saturday) and/or for performances/shows and/or rehearsals beyond the maximum number indicated by the applicable Schedule Matrix.

(b) Double-time will be paid for all hours worked beyond 16 consecutive hours worked.

(c) Hours paid for jury duty, funeral leave, personal holidays and vacation will be included in the computation of overtime.

(d) Overtime Canceled. Scheduled overtime canceled within 24 hours of the intended call shall be paid at the overtime rate, except as provided in 30(A)(3)(e).

(e) Overtime for performances beyond the applicable Schedule Matrix “Maximum Performances per Day or Week” shall be calculated at the

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appropriate rate multiplied by Show Value, or, in half-hour increments from the end of the previous show, whichever is greater.

(f) Performance and/or Mid-Show Delays.

(1) Once per day, if a delay in show occurs which causes the performance to exceed the maximum performance length, as specified in the show matrix, by five minutes or less, the Performer(s) will not be entitled to any additional compensation, regardless of the reason for the delay.

(2) For all other performances scheduled or added to the day, any delay in performance that exceeds the maximum performance length, as specified in the show matrix, will result in compensation to the affected Performer(s) in one-half hour increments at the appropriate overtime rate, regardless of the reason for the delay.

(3) At the time a delay occurs that results in the Company’s use of (1) above, the Company will, within 24 hours of such delay, notify Equity’s Business Representative(s) by email message the name of the affected show, its scheduled performance time, the length of the delay and the general nature of the problem which caused the delay. Failure to notify Equity as described herein shall result in compensation to the affected Performer(s) in one-half hour increments at the appropriate overtime rate.

(4) This shall only apply to shows that have more than one scheduled performance per day.

(g) Overtime for performances or rehearsals not covered in the applicable Schedule Matrix shall be calculated at the appropriate rate in half-hour increments with applicable minimum calls. (See Rule 16(D) and 30(I)(3).)

(6) Sixth and Seventh Days.

(a) A performer scheduled on a sixth consecutive day in a payroll week will receive time and one-half for all hours worked, provided the performer has worked five work days, if work is available.

(b) A performer scheduled on a seventh consecutive day on a payroll week will receive double-time for all hours worked, provided the performer has worked six work days, if work is available.

(c) Calculation of the premium time will be based on the scheduled work which takes place on the scheduled days off.

(7) Performance and Rehearsal Day Schedules. The schedule for the week shall be posted no later than the first day of the preceding week. The posted schedule shall include: span of day, the first call of the day, the time of each performance, rehearsal calls, the time of the scheduled meal break, and designated days off.

(B) Schedule Matrix.

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(1) Please refer to the individual schedule matrices published and updated separately for maximum performances and rehearsals, minimum time between performances / rehearsals, and show value.

(2) Prior to the first public performance of a new or changed show, the Company and Equity shall meet for discussion and input on all categories of the Schedule Matrix for said show. Should the Company and Equity not agree on appropriate matrix values, the Company shall assign a 90 day temporary matrix. By the end of 90 days, the Company and Equity shall negotiate all categories of the Schedule Matrix. By the end of 120 days, should the Company and Equity not agree on appropriate matrix values, the dispute shall be subject to arbitration procedures of Rule 43. The parties agree there will be no retroactive pay as part of the resolution.

(3) In those instances where the posted schedule calls for fewer than the maximum number of performances for any day, as specified in the applicable Matrix, the following shall apply:

(a) Added Performance - Cast. The Company will make every effort to give advance notice of at least one day when adding a performance to the regularly scheduled work day of a cast, but reserves the right to add such performance when necessary.

(b) Added Performance - Individual. The Company may assign an individual performer to use the remaining performances, up to the matrix maximum, for purposes of substituting for another performer. No additional payment shall be required if the individual performer has been notified no less than 12 hours prior to the call time, or by midnight of the previous calendar day, whichever is earlier. If such advance notice has not been given, the performer shall be paid at the appropriate overtime rate times show value for the number of additional performances given. (See (c) below, for exception.) This notice requirement applies across shows and into Conventions.

(c) Double Scheduled Work Day. If an individual performer completes his regularly scheduled work day regardless of whether the schedule uses the maximum number of matrix performances and, with or without advance notice, is asked to do another performer’s complete schedule of shows, said performer shall be paid the following:

(1) Eight hours straight-time and, if the additional scheduled workday constitutes less than 50% of the maximum number of matrix performances, the performer shall be paid an additional four hours at the appropriate overtime rate;

(2) Eight hours straight-time and, if the additional scheduled workday constitutes 50% or more of the maximum number of matrix performances, the performer shall be paid an additional eight hours at the appropriate overtime rate.

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(d) Contingency Shows. The Company has represented its desire that every performance includes a full complement of performers and production elements as originally created. Contingency Shows are defined as an approved alternative to the normal show. They are planned and rehearsed in advance of performance before an audience.

It is understood that emergency re-blocks will occur at times for issues that were not foreseen. In these instances the Lead, Dance Captain, Vocal Captain, and/or Fight/Stunt Captain will assist the Entertainment Manager in creating and quickly rehearsing a safe solution to ensure the show is able to be performed again as soon as possible.

(e) Early Release. A performer who takes an Early Release (ER) prior to the completion of his scheduled number of performances for the day will be paid show value times the appropriate rate for the number of scheduled performances performed or actual time whichever is greater.

(C) Rehearsals.

(1) Rehearsal Breaks. Within any rehearsal period, there shall be a break of five minutes within each 60 minutes of rehearsal. If a five minute break is not given at the end of 55 minutes, a ten minute break must be given at the end of 80 minutes of rehearsal, except during run-throughs or dress rehearsals when the 15 minute break shall be given at the end of the scene or show.

(2) Rehearsal Breaks for Dance Shows. For any structured dance show, there shall be a break of five minutes after no more than 55 minutes of rehearsal, except during run-throughs or dress rehearsals, when a minimum 15 minute break shall be given at the end of the scene or show.

(3) During the rehearsal process for shows that involve large and/or heavy props, it is agreed that the Entertainment Manager and Lead or appropriate Captain (i.e., Dance, Vocal and/or Fight/Stunt), will meet at the beginning and end of each rehearsal to ensure there is appropriate communication and monitoring of the rehearsal process.

(4) Performance time may be exchanged for rehearsal time at an exchange ratio as specified in the appropriate show matrix.

(5) Whenever possible, the performer shall receive a one week notice of rehearsals which impact call time or release time.

(6) Required Rehearsals.

(a) New performers shall normally be given no less than one dress rehearsal on stage at their performance location. Said dress rehearsal shall include all costumes, costume changes, shoes, props, set pieces, etc. The Company shall advise Equity, in advance, of any deviation from this provision.

(b) Whenever a new set or stage will be utilized for a performance, the Company shall make every effort to provide adequate time for performers to

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gain a familiarization with the surroundings of the new location, any obstructions, fall hazards, etc.

(c) At the request of a current performer who has not performed the show for at least six weeks, there shall be a “brush-up” or “walk-through” rehearsal.

(D) Performances.

(1) Half-Hour Call. There shall be a half-hour call prior to the performer’s first performance of the day which shall be considered the performer’s time for getting into costume and make-up and preparing for performance. At the Company’s sole discretion, an additional one-half hour of warm-up time prior to the performer’s first performance of the day may be scheduled.

(a) Each week, up to one hour of non-performance time may be called for scheduling of the following activities: administrative meetings, note sessions and wardrobe fittings. Such non-performance time must be posted on the schedule in accordance with Rule 30(A)(3), and shall be limited to use for the cast at each stage/performance location and not be applied to individual performers, with the exception of wardrobe fittings which may be individually scheduled. This provision shall not apply to Conventions/Special Events.

(b) Any other call scheduled prior to the half-hour call shall count against the maximum rehearsal time permitted in the matrix or shall be paid at the appropriate overtime rate.

(c) Up to one-half hour of non-performance time for specialty make-up will be incorporated into the performance matrix for those shows requiring such make-up.

(2) There shall be a maximum half-hour call for each succeeding performance.

(3) The “places” call for each show shall be a maximum of five minutes prior to the scheduled performance time.

(E) Minimum Time Between Performances.

(1) Minimum time between performances shall be specified in the applicable Schedule Matrix.

(2) Minimum Break. During the minimum time between performances, there shall be a minimum break of 15 minutes which shall not be invaded, except for emergency replacement rehearsals. The balance of the minimum time between performances shall not be unreasonably invaded by work-related incursions.

(3) The minimum time between a performance and any other scheduled activity or between two performances at different locations shall be 30 minutes. For purposes of this rule, Pleasure Island shall be considered a single performance location and for DISNEY’S HOLLYWOOD STUDIOS “Streetmosphere” performers, New York Street shall be considered a separate location from the Sunset/Hollywood Boulevards area.

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(4) Meal breaks and minimum time between performances shall not be invaded for required travel to and from performance and/or rehearsal locations.

(F) Meal Breaks.

(1) A one hour meal break shall normally be scheduled as near as reasonably practicable to the mid-point of the scheduled performance or rehearsal day, except that, if the total scheduled performance day is six and one-half hours or less, no meal break shall be required. Any deviation from the one hour meal break on a regularly scheduled basis shall be discussed with Actors’ Equity Association in advance of implementation.

(2) Provided the performer can reasonably obtain and eat a meal in the allotted time or a nutritious catered meal is provided, a meal break of less than one hour but not less than one-half hour may be scheduled.

(3) If the work day exceeds nine hours, additional meal breaks shall be given so that no more than five hours elapse beyond the end of the previous meal break.

(4) The meal break(s) shall be in addition to the minimum time between performance and/or rehearsals (rehearsal to rehearsal excepted).

(5) The Company shall provide nutritious catered meal(s) when no meal break is given or when eating facilities are not reasonably accessible within the allotted meal break.

(G) Work Not Permitted. Performers shall not be permitted to do set or prop moves which, due to the following, are inherently hazardous: location on stage, weight of the set piece or prop, construction, pyrotechnic or electrical effects, proximity to machinery or simultaneous movement of the scenery or effects.

(H) Special Events.

(1) Performers may be assigned to Special Events, such as but not limited to, Holiday Parades, press events or non-profit support activities.

(2) The Company reserves the right to reschedule the performers’ nine hour scheduled work day to accommodate Special Events. (See Rule 30(A)(3).)

(3) Regularly scheduled rehearsal time (see applicable Schedule Matrix) may be used for Special Event rehearsal.

(4) The combined performance, rehearsal, and any other work time for a Special Event call shall be based upon 50% of the total hours paid. The half-hour call to prepare for performance shall count as work time. Any minutes worked in excess of 50% of hours paid will be paid at the appropriate overtime rate, in one-half hour increments.

(5) Breaks.

(a) Atmospheric Performance Call. Following 60 minutes of work time (excluding half-hour call), the performer shall receive a 15-minute minimum break. Within the 60-minute block of performance time, actual performance time shall not exceed a total of 45 minutes.

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(b) Production/Show Performance Call. If there is no rehearsal, there shall be a maximum half-hour call prior to the performance. If there is a rehearsal, there shall be a minimum break of one-half hour plus half-hour call between the end of rehearsal and the start of performance. If there are multiple performances, there shall be a minimum of 30 minutes between performances.

(c) If a break as defined in (a) or (b) above is not given when required, the performer shall be paid one-half hour at the appropriate overtime rate.

(6) Any hours worked in excess of total performance time shall be compensated at the appropriate overtime rate, in one-half hour increments.

(7) If performance is defined in a Schedule Matrix, the Performer’s matrix time (at show value) including half-hour call shall be accounted for within the Special Event call.

(8) When a performer is required to memorize scripted material and no rehearsal time is allocated for that purpose, the performer shall receive compensation computed on the basis of one-half hour at one and one-half times contractual rate for each page or partial page of dialogue, double spaced. The parties agree that said compensation formula shall have no applicability to the allocation of rehearsal time for these purposes.

(9) During the rehearsal process for Special Events that involve large and/or heavy props, it is agreed that the Entertainment Manager and Lead or appropriate Captain (i.e., Dance, Vocal and/or Fight/Stunt), will meet at the beginning and end of each rehearsal to ensure there is appropriate communication and monitoring of the rehearsal process.

(I) Convention/Industrial Calls.

(1) Definition. A Convention/Industrial call is defined as any atmosphere or show performance associated with a Convention and/or Industrial event.

(2) Convention/Industrial Calls Within a Nine Hour Scheduled Work Day.

(a) The Company reserves the right to reschedule the performers’ nine hour scheduled work day to accommodate Convention/Industrial calls. (See Rule 30(A)(3).)

(b) Regularly scheduled rehearsal time (see applicable Schedule Matrix) may be used for Convention/Industrial rehearsal.

(c) The combined performance, rehearsal, and any other work time for a Convention/Industrial call shall be based upon 50% of the total hours paid. The half-hour call to prepare for performance shall count as work time. Any minutes worked in excess of 50% of hours paid will be paid at the appropriate overtime rate, in one-half hour increments.

(d) Breaks.

(1) Atmospheric Performance Call. Following 60 minutes of work time (excluding half-hour call), the performer shall receive a 15-minute

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minimum break. Within the 60-minute block of performance time, actual performance time shall not exceed a total of 45 minutes.

(2) Production/Show Performance Call. If there is no rehearsal, there shall be a maximum half-hour call prior to the performance. If there is a rehearsal, there shall be a minimum break of one-half hour plus half-hour call between the end of rehearsal and the start of performance. If there are multiple performances, there shall be a minimum of 30 minutes between performances.

(3) If a break as defined in (1) or (2) above is not given when required, the performer shall be paid one-half hour at the appropriate overtime rate.

(e) Any hours worked in excess of total performance time shall be compensated at the appropriate overtime rate, in one-half hour increments.

(f) If performance is defined in a Schedule Matrix, the Performer’s matrix time (at show value) including half-hour call shall be accounted for within the Convention/Industrial call.

(g) If the performer must travel to a different location for the Convention and/or sound check, and/or to resume performances of the statused show, all such travel will either be accounted for in Matrix time or paid at the appropriate overtime rate.

(h) The half-hour call for the Convention show will be accounted for in Matrix time or will be paid as one-half hour at the appropriate overtime rate.

(3) Convention/Industrial Calls Contiguous to Scheduled Work Days. These calls shall be paid at the appropriate overtime rate in one-half hour increments, with a minimum of one and one-half hours up to two hours. Contiguous extensions to the scheduled shift which exceed two hours shall be paid in accordance with (4) below.

The combined performance, rehearsal, and any other work time for a Convention/Industrial call shall be based upon 50% of the total hours paid. The half-hour call to prepare for performance shall count as work time. Any minutes worked in excess of 50% of hours paid will be paid at the appropriate overtime rate, in one-half hour increments.

If performance is defined in a Schedule Matrix, the Performer’s matrix time (at show value) including half-hour call shall be accounted for within the Convention/Industrial contiguous call.

(4) Convention/Industrial Calls Not Contiguous to Scheduled Work Days. Convention/Industrial calls on a scheduled day off, or calls where there is a break in pay from completion of the scheduled work day will be paid at four hours overtime.

(a) Actual performance/work time, including half-hour call, shall be based upon 50% of total hours paid. Following 60 minutes of work time (excluding half-hour call), the performer shall receive a 15-minute minimum break.

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Within the 60-minute block of performance time, actual performance time shall not exceed a total of 45 minutes. An additional half hour of non-performance work time may be scheduled as needed.

(b) If a performance is defined in a Schedule Matrix, the performer’s matrix time (at show value) including half-hour call shall be accounted for within the four hour call.

(c) Time performed/worked in excess of the 50% performance time, or in excess of the allotted matrix time, or an extension of the four hour minimum call will be paid at the overtime rate in one hour increments.

(5) When a performer is required to memorize scripted material and no rehearsal time is allocated for that purpose, the performer shall receive compensation computed on the basis of one-half hour at one and one-half times contractual rate for each page or partial page of dialogue, double-spaced. The parties agree that said compensation formula shall have no applicability to the allocation of rehearsal time for these purposes.

(6) The Company will provide as much notice as possible to performers scheduled for Convention/Industrial work following their scheduled work days or on scheduled days off.

(7) During the rehearsal process for Conventions/Industrials that involve large and/or heavy props, it is agreed that the Entertainment Manager and Lead or appropriate Captain (i.e., Dance, Vocal and/or Fight/Stunt), will meet at the beginning and end of each rehearsal to ensure there is appropriate communication and monitoring of the rehearsal process.

(8) Auditions. Any required audition for Convention clientele shall be on Company time and shall be paid at the appropriate rate.

(J) Equity Business. One-half hour non-work time, exclusive of rehearsal call, shall be set aside during the first week of rehearsal (or at any other mutually agreed time) to allow the cast to conduct Equity business, including the election of an Equity Deputy. It shall not be counted as part of the rehearsal period. The Company will notify Equity of the scheduling of the one-half hour meeting with as much notice as is reasonably practicable. The Equity Business Representative may schedule a one-half hour meeting with new individual cast members by contacting the respective operating area.

31. UNDERSTUDIES, SWINGS AND SUBSTITUTES.

(A) The parties agree that it is in the best interest of both the Company and the performers to maintain performance quality and to protect the health and well-being of the performers. Therefore, the Company agrees to retain sufficient understudies, swings, and substitutes in numbers determined at the sole discretion of management. The Company agrees to make every reasonable effort to keep the swing rotation in effect at all times in dance shows and chorus stunt shows.

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(B) Performers within the Actors’ Equity Association Bargaining Unit shall be given first opportunity to substitute for regular performers. In emergency situations, Management/Leads at the stage will contact available Equity Unit substitutes. Only in the event that an Equity Unit substitute is not available, or cannot be reached, may non-Equity Bargaining Unit substitutes be used with exception to Rule 31(C) below. It is further understood that payment in such instances shall be pursuant to Rule 16(E)(6) of the Collective Bargaining Agreement.

(C) Subsequent to the rehearsal period, the non-Equity Bargaining Unit substitute will be entitled to one public performance day per rehearsed role. During rehearsals and the public performance, the non-Bargaining Unit substitute will be paid the Equity minimum rate for the appropriate classification/role, or his own rate, whichever is greater. The Equity performer shall be excused from reporting for work during the non-Equity Bargaining Unit substitute’s public performance day. There shall be no loss of pay, including stunt increment, to the Equity performer, and the substitute’s performance shall count toward the Equity performer’s matrix maximum.

32. TRAVEL.

This rule shall apply to the following: in-state events of seven days or less, including all work and travel; and out-of-state events of seven days or less and two cities or less, including all work and travel. Tours lasting more than seven days shall use the rules of the touring addendum.

(A) Except as provided below, performers who travel for the Company shall do so under the terms of the existing Company travel policy. Travel arrangements shall be made at the sole discretion of the Company. Performers who refuse to travel by air may be denied travel opportunities.

(B) Per diem. Per diem will be paid at the Government High/Low non-taxed rate, (based on location).

(C) Travel time which occurs within the normally scheduled work day will be considered as time worked and paid at the appropriate rate. Travel time which occurs outside the normally scheduled work day will not be considered as time worked and, consequently, not paid. Travel time which occurs on a performer’s day off or holiday will be compensated for those hours which correspond to the normally scheduled work day.

(D) The combined performance, rehearsal, and any other work time (excluding travel time) shall be based upon 50% of the total hours paid. The half-hour call to prepare for performance shall count as work time. Any minutes worked in excess of 50% of hours paid will be paid at the appropriate overtime rate, in one-half hour increments.

(E) Travel time per day shall not exceed the following: 11 hours on a travel-only day; 12 hours in combination with actual hours worked, i.e. eight hours plus four travel hours. Excess travel will be paid at the appropriate overtime rate.

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(F) Performers performing in road shows may be scheduled with a break in shift provided that the Company allows at least a three hour period of non-captive time between the end of the first call and the beginning of the next call.

(G) Ground Transportation.

(1) Short Distance. Travel within a 100 mile radius of the Walt Disney World Resort may be taken in any properly insured vehicle driven by a properly licensed operator. The vehicle will be equipped with heat, air conditioning and seating accommodations for each performer. There shall be no smoking in the vehicle. The Company shall at its own expense transport the performer when the performer is required to travel from Walt Disney World Property to the engagement.

(2) Long Distance. Travel which exceeds the 100 mile radius shall be in a vehicle which is equipped with heat, air conditioning, and seating accommodations for each performer. There shall be no smoking in the vehicle. Travel time shall not exceed 11 hours in one day. Travel time shall be calculated as the total time from the travel call to the arrival at the destination hotel or performance location.

(3) Travel Breaks. There shall be a minimum of one ten-minute comfort stop within each two hour travel period unless the vehicle has on-board lavatory facilities. There shall be a meal stop of at least one hour as near as reasonably practicable to the mid-point of the travel period. In the event of a travel period delay due to unforeseeable circumstances, there shall be an additional meal stop of at least one hour after no more than six and one-half hours have elapsed from the end of the previous meal break.

(4) Where applicable, the vehicle, upon arriving at its destination, will first deliver the performers to their accommodations. In every case where the performance site is situated more than 1/4 mile from the hotel or in inclement weather, or if travel to and/or from the performance will occur after 9 PM, the vehicle will transport the performers to the performance site and return them to the hotel after the performance. The vehicle shall leave the performance site when all performers are ready to be transported to the hotel. However, the time of departure shall be no later than 30 minutes after the end of the performance.

In the event of an accident or illness a member of WDW management will stay with the performer until the performer is able to travel.

33. CLASSES.

All classes that a performer is required or “requested” to attend shall be included as part of the total week as stipulated in Rule 30.

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SECTION VI. ADMINISTRATIVE

34. LAWS GOVERNING.

All contracts of employment shall be subject to, be construed by, and all the rights of the parties thereto shall be determined by the laws of the State of Florida, except as otherwise provided herein. If any provision of this Agreement should be held invalid or unlawful by any tribunal of competent jurisdiction, the remaining provisions shall not be affected thereby, but shall remain severally valid, binding, and in full force and effect.

35. INTERPRETATION.

The parties hereto may interpret, alter, or amend the Agreement by mutual action in writing, and no individual performer shall have cause to complain therefore, it being understood that any interpretation or arrangement mutually satisfactory to the parties hereto shall be binding upon all individual performers, whether such action be prospective or retroactive.

36. MANAGEMENT RIGHTS.

Except as expressly and clearly limited by the terms of this Agreement, the Company reserves and retains exclusively all of its normal and inherent rights with respect to the management of the business, including, but not limited to, its right to select and direct the number of performers assigned to any particular classification of work; to sub-contract work; to establish and change work, schedules and assignments; to lay off, terminate or otherwise release performers from duty for lack of work or other just cause; to make and enforce rules for personal grooming and the maintenance of discipline; to discontinue conduct of its business or operations in whole or in part; to institute technological changes and otherwise to take such measures as management may determine to be necessary to the orderly, efficient and economical operation of business.

37. BULLETIN BOARDS.

The Company shall provide bulletin boards for the posting of information, auditions, and official Equity and Company notices. The boards shall be of reasonable size (but not less than two feet by three feet) and shall be accessible to all performers. It is agreed that no Equity matter of any kind shall be posted in and about the premises of the WALT DISNEY WORLD RESORT except on said Boards. It is agreed by Equity and the Company that it is the responsibility of each performer to be knowledgeable of notices posted.

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38. WORK STOPPAGES AND LOCKOUTS.

(A) No Lock-outs or Strikes. During the existence of this Agreement, there shall be no strikes, picketing, work stoppages or disruptive activity by Equity or by the performer, and there shall be no lock-out by the Company.

(B) Failure to Cross Picket Line - Violation of Agreement. Failure of any performer covered by the Agreement to cross any picket line established at the WALT DISNEY WORLD RESORT is a violation of this Agreement, unless the Company and Equity agree that entry or performance will result in physical violence or injury to the performer.

(C) Union’s Responsibility to Prevent Work Stoppage, Strike or Disruptive Activity. Equity shall not sanction, aid or abet, encourage or condone a work stoppage, strike or disruptive activity at the WALT DISNEY WORLD RESORT and shall undertake all possible steps to prevent or to terminate any strike, work stoppage, or disruptive activity. No performer shall engage in activities that violate the Article. Any performer who participates in or encourages any activities which interfere with the normal operation of the WALT DISNEY WORLD RESORT shall be subject to disciplinary action, including discharge. Equity shall not be liable for acts of performers for which it has no responsibility. The failure of the Company to exercise this right in any instance shall not be deemed a waiver of this right in any other instance, nor shall the Company’s right to discipline all performers for any other cause be in any way affected by this Section.

(D) Disputes with Concessionaires. Disputes between Equity and any concessionaire operating in the WALT DISNEY WORLD RESORT shall be so handled as not to interfere with the Company’s business or the business of any concessionaire not a party to such disputes. No picketing or concerted action against any one or more of the concessionaires will be conducted at the WALT DISNEY WORLD RESORT. “Concessionaire” as used herein, includes a concessionaire and also a licensee, exhibitor, participant, sponsor, contractor, sub-contractor or lessee. In the event any other organization pickets at or near the WALT DISNEY WORLD RESORT, Equity agrees that such picket line, so far as they and the performers they represent are concerned, shall not affect the operation of the Company or concessionaires who are not involved in the dispute.

39. UNION ACTIVITY AND CHECK-OFF.

(A) Union Solicitation. Solicitation for union purposes by Equity shall not take place on working time, in working areas, in public areas, nor in the tunnel complex (except in break areas contained therein), but may be conducted in non-working areas and on non-working time in parking areas, break areas and lunch rooms.

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(B) Access of Union Representatives to Premises. Representatives of Equity, designated in writing to the Company by Equity, shall be permitted to enter the non-public areas of the WALT DISNEY WORLD RESORT for the purpose of determining that this Agreement is being complied with by the Company and for the presentation and handling of grievances. Said representatives shall also be permitted to enter the public areas of the Company for the purpose of viewing performances. Said representatives, who shall not number more than a total of five at any one time, shall comply with the access regulations and security regulations of the Company and shall not interrupt the performance of performer work assignments.

(C) Deputies. Equity shall have the right to appoint Deputies in each cast as it deems necessary. The Deputy shall serve as liaison between the cast and Equity. The Deputy shall have the right to receive and report, but not to promote, performer’s complaints or differences and to discuss and assist in the adjustment of the same with the appropriate manager on Company property without the loss of pay during regular working hours. (See Rule 40(D), EQUAL EMPLOYMENT OPPORTUNITY, NON-DISCRIMINATION AND NON-RETALIATION.)

(D) Joint Committees. The Company agrees that up to ten performers, as designated by Equity on a case by case basis, shall have the right to attend meetings of a Joint Committee without loss of pay during regular working hours.

(E) Check-off. The Company agrees to withhold from the wages on each payroll week uniform weekly membership dues, initiation fees and other assessments for each performer who signs and submits an authorization form. The Company shall forward such dues to the certified financial secretary or other properly designated official of Equity on or before the third week following the last week in the month in which dues are deducted. Equity agrees to indemnify and save the Company harmless against any and all claims, suits, or other forms of liability arising out of the deductions of money for union dues from performers’ pay. Equity assumes full responsibility for the disposition of the moneys so deducted once they have been turned over to the certified financial secretary or properly designated official of Equity.

40. EQUAL EMPLOYMENT OPPORTUNITY, NON-DISCRIMINATION AND NON-RETALIATION.

(A) Non-Discrimination.

(1) The Company and Equity agree there shall be no discrimination against any performer or prospective performer due to race, color, creed, sex, age, national origin, religion, marital status, sexual orientation, or disability, as provided in federal and state legislation.

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(2) The parties agree to support and to foster compliance with the Americans with Disabilities Act Amendments Act (ADAAA). Thus, nothing in the Agreement shall be construed as being inconsistent with or as requiring the parties to behave in any manner inconsistent with federal or state law.

(3) The Company agrees that the active solicitation of ethnic, women, and senior performers, and performers with disabilities shall be evident in all ads, notices, call and casting breakdowns to agents and casting directors in order to encourage participation in the casting process. The Company and Equity further agree to work through existing Company and Equity units and appropriate outside resources, and through the contractual Joint Committee process to identify and encourage the open casting of ethnic, women, and senior performers, and otherwise qualified performers with disabilities.

(B) Non-Retaliation. The Company and Equity agree there shall be no retaliation against an individual who has made a good faith complaint about discrimination or harassment due to race, color, creed, sex, age, national origin, religion, marital status, sexual orientation or disability. Employees who believe they have been harassed, discriminated against or retaliated against should promptly report the facts of the incident and the name of the person involved to their Human Resources, Labor Relations Department or Equity Business Representative.

(C) The Company and Equity reaffirm their mutual commitment to a flexible and imaginative process which casts performance roles without regard to race, gender, age or physical ability when such considerations are not germane to the role while recognizing and understanding the necessity of artistic and creative discretion in the casting process.

(D) The Company and Equity agree that there shall be no discrimination against any performer serving as Deputy or any performer due to Union activities or affiliation.

(E) For purposes of this Agreement, references to performers in the masculine gender shall be deemed to apply equally and without distinction or discrimination to the female gender.

41. BLACKLISTING.

The Company and Equity agree to prevent blacklisting. Opposition to blacklisting is not a controversial issue between the Company and Equity.

42. JOINT EQUITY/WALT DISNEY WORLD COMMITTEE.

The Company and Equity recognize the mutual benefit of joint meetings of representatives of both parties. The Company and Equity hereby establish a Joint Committee to study, explore and make recommendations in areas of mutual concern that have been referred to the Committee, by agreement of both parties. The parties declare it to be their desire and intent that the determination and votes in all matters by all members of the Committee shall be factual and open-minded in character rather than being representative of the respective parties. The Company and Equity further agree

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that the Joint Committee shall be required to meet within 30 days if requested in writing by either party.

(A) Committee Structure.

(1) The Joint Committee shall consist of representatives from Equity and representatives from the Company. Any committee may, at its discretion, create working sub-committees as required on the specific issues under study.

(2) Each party shall pay the expenses, if any, incurred by its Committee members.

(3) Permanent Committee members will include one Company representative from Labor Relations and one Union representative from Equity staff (Business Representative level or higher) who will serve as co-Chairs of the Committee. Other Company or Union representatives may be added on an ad hoc basis depending on the issue under discussion. Meetings will be jointly chaired.

(B) Authority and Function. The Committee’s authority shall be limited to discussion, exploration and study of subjects either referred to it by the parties or stipulated by this Agreement. No Committee shall engage in collective bargaining or in any way modify, add to or detract from the provisions of the Agreement.

(C) The referral of an item to the Committee shall not extend any time limits specified in Rule 43, GRIEVANCE PROCEDURE.

43. GRIEVANCE PROCEDURE.

(A) Grievances Settled According to Procedure. The parties agree that any grievance arising out of the interpretation or application of the terms of this Agreement, with the exception of terminations and policy grievances which will be expedited to Step 3, shall be settled promptly in accordance with the following procedure.

(B) Definitions.

(1) Grievance. A grievance, within the meaning of this procedure, is defined as a dispute or difference of opinion between the parties concerning the meaning, interpretation, application or alleged violation by the Company or Equity of this Agreement.

(2) Time Limits. The parties recognize that it is important that grievances are processed and resolved as rapidly as possible. Therefore, the number of days indicated at each step of the grievance procedure should be considered as a maximum to expedite the process. The time limits specified may be extended by mutual agreement as evidenced by a waiver in writing signed by an authorized representative of the Company and Equity. Otherwise, the grievance shall be regarded as withdrawn.

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(C) Procedure.

(1) Step 1. Any performer, believing that he has suffered a grievance, shall immediately notify the cast Deputy, who shall notify the Equity Business Representative. The performer or the Equity Business Representative shall discuss the alleged grievance and attempt to resolve the problem with the performer’s immediate manager or the appropriate Company representative. In order to be deemed timely, a grievance must be discussed within ten business days after its occurrence or within ten business days after the performer had a reasonable opportunity to become aware of the occurrence, whichever is later. Failure to observe the aforementioned time limitations shall be deemed as a waiver and the grievance will be regarded as abandoned.

The immediate manager or appropriate Company representative shall give an oral reply within seven business days after submission of the grievance. If said manager or representative fails to give an oral reply within the time limits provided, the grievance may be appealed to the next step of this grievance procedure.

(2) Step 2. If the grievance shall not have been adjusted under Step 1, then within seven business days after the reply given under Step 1, or after the date by which a reply should have been given under Step 1, the Equity Business Representative shall notify the performer’s Division Head of the grievance. The Division Head or his designated representative and the Equity Business Representative shall discuss the grievance within seven business days after invocation of Step 2 in an attempt to settle the grievance. It shall be incumbent upon the Business Representative to schedule the discussion with the Division Head. The Division Head or his designated representative shall provide the Equity Business Representative with an oral reply within seven business days of the discussion. If the Division Head fails to give an oral reply within the time limits provided, the grievance may be appealed to the next Step of the grievance procedure.

(3) Step 3. If the grievance shall not have been adjusted under Step 2, then within seven business days from the date of the Division Head’s oral decision or the date when the decision should have been submitted by the Division Head, the grievance shall be reduced to writing upon the accepted Grievance Form which shall set forth the relevant information concerning the grievance, including a short description of the alleged grievance, the date on which the grievance occurred, an identification of the section of the Agreement alleged to have been violated, and where possible, the requested remedy and shall be presented to the Labor Relations office. The Labor Relations representative and the Equity Business Representative shall meet within seven business days in an attempt to resolve the grievance. The Labor Relations representative shall provide the Equity Business Representative with a written reply within seven business days after the parties have met. If the Labor Relations

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representative fails to give a written reply within the time limit provided, the grievance may be appealed to the next Step of this grievance procedure.

(4) Step 4.

(a) If the grievance shall have been submitted but not adjusted under Step 3, either party may, within ten business days after receipt of the written reply, request in writing that the grievance be submitted to an Arbitrator mutually agreed upon by the Company and Equity.

(b) The parties agree to select a panel of arbitrators to hear outstanding grievances. The panel will consist of Roger Abrams, James L. Reynolds, Thomas Humphries, and Richard I. Bloch.

The arbitrators shall serve on a rotating basis. Permanent placement on the rotation list will be based on the date each arbitrator accepts the designation for the panel. An arbitrator will be passed in rotation and the parties will proceed to select the next arbitrator on the list if:

(1) The arbitrator’s availability is delayed and the length of the delay is unacceptable to Equity and the Company or;

(2) An arbitrator is unwilling to take the particular matter referred to him or;

(3) An assigned case is settled at any time thereafter prior to the arbitrator rendering a decision.

Except for disputes relating to Rule 12, TERMINATIONS, the decisions of the arbitrator shall be rendered in writing within 30 days following the conclusion of the hearing.

(D) Equity shall act on behalf of the Performer in any arbitration proceedings in accordance with Equity’s Constitution and By-Laws, and no Performer is authorized to commence any arbitration proceedings without the consent of Equity.

(E) Expense and Location. The expenses of arbitration, including the compensation of the arbitrator, shall be shared equally by Equity and the Company. Both parties herein agree that all arbitrations shall take place in the City of Orlando or at a place mutually agreeable to both parties.

(F) Nothing herein shall be construed to give the arbitrator the authority to alter, amend, or modify any of the provisions of this Agreement.

(G) Only one grievance shall be before a specific Arbitrator at one time.

(H) Expeditious Arbitration. In any dispute relating to Rule 12, TERMINATIONS, either the Company or Equity shall have the right to invoke the following expeditious arbitration procedure:

(1) The dispute or grievance shall be asserted in a written notice sent by registered mail or by telegram, return receipt requested, to the other party. Simultaneously, a copy of such notice shall be sent, return receipt requested, to the arbitrator at an address to be designated by the arbitrator or panel.

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(2) The dispute, complaint, or grievance shall be submitted to arbitration within 72 hours after receipt of notice by the arbitrator and the award shall be issued not later than 48 hours after their conclusion of the hearing. The parties shall argue their cases orally at the conclusion of the hearing and no written briefs shall be filed.

(3) The award of the arbitrator shall be in writing and may be issued with or without opinion. If any party desires an opinion, said party may request same, but such request shall not delay compliance with, or enforcement of, the award.

(4) The failure of any party to attend the arbitration hearing as scheduled shall not delay said arbitration, and the arbitrator is authorized to proceed to take evidence and issue an award as though such party were present. The decision of the Arbitrator shall be final and binding on all parties with no further appeal, except for reasons of setting aside an Arbitrator’s award as set forth in applicable Federal and Florida law.

The parties agree to the following list of permanent arbitrators for all Expeditious Arbitrations relating to Terminations during the term of this Agreement: Roger Abrams and up to three other arbitrators to be agreed upon by the parties.

44. TERM OF AGREEMENT.

(A) Term. This Agreement and any further amendment or supplement hereto shall be in full force and effect from September 16, 2012 through September 9, 2017 and from year to year thereafter, subject to the right of either party to terminate the same at any anniversary of the effective date of this Agreement following September 9, 2017 upon the giving of notice of termination not later than 60 days preceding the effective date of such termination.

(B) Existing Contracts. Any individual contracts of employment existing on or signed on or subsequent to September 16, 2012 shall be modified in accordance with the new rules. Equity may advise its members that no member shall work for Walt Disney World Co. unless an Agreement Governing Employment at the WALT DISNEY WORLD RESORT is in effect.

(C) Complete Agreement. The parties acknowledge that during the negotiations which resulted in this Agreement, each had the unlimited right and opportunity to make demands and proposals with respect to any subject or matter not removed by law from the area of collective bargaining, and that the understandings and agreements arrived at by the parties after the exercise of that right and opportunity, are set forth in this Agreement. Therefore, the Company and Equity, for the life of this Agreement, each voluntarily and unqualifiedly waive the right and each agrees that the other shall not be obligated to bargain collectively with respect to any subject or matter referred to or covered in this Agreement, or with respect to any subject or matter not specifically referred to or covered in this Agreement, even though such subjects or matters may not have been within the knowledge or contemplation of either or both of the parties at the time that they negotiated or signed this Agreement.

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ADDENDUM I - “REGULAR PART-TIME AND SEASONAL/TEMPORARY PERFORMERS”

September 16, 2012 Robbin Almand Director, Labor Relations Walt Disney World Parks and Resorts U.S. P.O. Box 10,000 Lake Buena Vista, FL 32830 Dear Robbin: Equity and the Company agree that the following will continue to be incorporated by reference into the Collective Bargaining Agreement as amended effective September 16, 2012 and expiring on September 9, 2017.

APPLICATION OF RULES TO REGULAR PART-TIME AND SEASONAL/TEMPORARY PERFORMERS AS SPECIFIED HEREIN. In the Collective Bargaining Agreement between Actors' Equity Association and Walt Disney World Co., the following list of rules will be applied to Regular Part-Time and Seasonal/Temporary performers as modified herein. Rules not listed will be interpreted as standard language in the administration of the Collective Bargaining Agreement.

RULE 7(B) & (D) - EXCLUSIVE SERVICE Applies to Regular Part-Time on regularly scheduled days.

RULE 8 - CONTRACTS Applies to Regular Part-Time and Seasonal/Temporary performers on an individual contract for a specified period of time, except 8(I)(1) does not apply to Seasonal/Temporary performers.

RULE 10 - RESPONSIBILITIES OF THE PERFORMER Applies to Regular Part-Time and Seasonal/Temporary performers.

RULE 11 - PROBATIONARY PERIOD A performer will go through one probationary period as either a Regular Full-Time or Regular Part-Time performer. A Seasonal/Temporary converting to Regular Part-Time or Regular Full-Time status will be subject to a probationary period unless such period has already been completed successfully.

RULE 12 - DISCIPLINE, STANDARDS OF CONDUCT AND TERMINATION Applies to Regular Part-Time and contracted Seasonal/Temporary performers.

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RULE 12(G)(2)(c) - PERFORMANCE RELATED TERMINATIONS Seasonal/Temporary performers not on an individual employment contract will be given a two (2) week notice.

RULE 13 - CLOSE OF SHOW NOTICE Applies to Regular Part-Time and contracted Seasonal/Temporary performers.

RULE 14 - LAYOFF Applies to Regular Part-Time and Contracted Seasonal/Temporary performers.

RULE 15 - PAY DAY Applies to Regular Part-Time and Seasonal/Temporary performers.

RULE 16 - PAY RATES Applies to Regular Part-Time and Seasonal/Temporary performers as noted.

RULE 17 - SICK LEAVE Does not apply to Regular Part-Time and Seasonal/Temporary performers.

RULE 18 - HOLIDAYS Does not apply to Regular Part-Time and Seasonal/Temporary performers, except as noted in 18(M) and 18(N).

RULE 19 - VACATIONS Does not apply to Regular Part-Time and Seasonal/Temporary performers.

RULE 20 - PENSION AND WELFARE Applies to Regular Part-Time and Seasonal/Temporary performers except Rule 20(C).

RULE 21 - LEAVES OF ABSENCE Applies to Regular Part-Time and contracted Seasonal/Temporary performers, except Rule (F) and (G).

RULE 22 - COSTUMES AND MAKE-UP Applies to all Regular Part-Time and Seasonal/Temporary performers with exception of Rule 22(B) which applies only to Regular Part-Time and contracted Seasonal/Temporary performers.

RULE 22(F) - SHOES In a good faith effort, the Company will strive toward the earliest possible employee notification of Convention shows and provide the appropriate footwear for the Regular Part-Time and Seasonal/Temporary performer.

RULE 23 - PROPERTY Applies to Regular Part-Time and Seasonal/Temporary performers.

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RULE 24 - SAFE AND SANITARY Applies to Regular Part-Time and Seasonal/Temporary performers.

RULE 25 - PERFORMANCE RISKS Applies to Regular Part-Time and contracted Seasonal/Temporary performers.

RULE 26 - STAGE FIGHTING OR STUNTS Applies to Regular Part-Time and Seasonal/Temporary performers except 26(A) which applies to Regular Part-Time and contracted Seasonal/Temporary performers.

RULE 27 - FILMING/VIDEOTAPING Applies to Regular Part-Time and Seasonal/Temporary performers. Regarding the Seasonal/Temporary performer, the Company will notify the Seasonal/Temporary performer as soon as possible if it is less than two days.

RULE 28 - AUDIO TAPING AND VOICE-OVERS Applies to Regular Part-Time and Seasonal/Temporary performers except the following: (A)(1) Applies only to Regular Part-Time and contracted Seasonal/Temporary performers and for the contracted show only.

RULE 29 - PHOTOGRAPHS AND PUBLICITY Applies to Regular Part-Time and Seasonal/Temporary performers.

RULE 30 - REHEARSAL AND PERFORMANCE WORK RULES Applies to Regular Part-Time and Seasonal/Temporary performers as noted, except 30(A)(5)(c) does not apply to Regular Part-Time and Seasonal/Temporary performers. (B) Applies to Regular Part-Time and Seasonal/Temporary performers.

RULE 32 - TRAVEL Applies to Regular Part-Time and Seasonal/Temporary performers. SIDE LETTERS Discipline, Standards of Conduct and Termination Applies to Regular Part-Time and Seasonal/Temporary performers. Medical Examinations Applies to Regular Part-Time and Seasonal/Temporary performers. Drug and Alcohol Policy Applies to Regular Part-Time and Seasonal/Temporary performers except Sections 12(a) and (b).

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ADDENDUM II - “Schedule Matrix”

The following pages contain a performance schedule matrix (current as of September 16, 2012) for each show performed within the Walt Disney World Resort. Each show’s matrix is listed on a separate table for each park (DISNEY’S ANIMAL KINGDOM, EPCOT, MAGIC KINGDOM, PLEASURE ISLAND and DISNEY’S HOLLYWOOD STUDIOS, and RESORTS/INDUSTRIAL) in which performances occur. Please be advised that each schedule matrix is subject to change should there be marked changes in any show.

For any new show developed, a schedule matrix will be negotiated and posted on the call board. [See Rule 30(B)(2).]

These tables are for reference only. If you have any questions, please contact your entertainment office or Equity. Each office maintains an original signed copy of each schedule matrix.

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ANIMAL KINGDOM

MAX PERF

LENGTH

MAX PERFS

DAY

MAX PERFS WEEK

MAX REH DAY

MAX REH

WEEK

MAX PERF:REH

CONV.

MAX SCHED

WORK DAY

SHOW VALUE

MIN TIME BET PERFS

AND/OR REHS

FESTIVAL OF LION KING

30 Min 4 20 1 Hr (1) 3 Hrs 1:2 6 Hrs 2.0 30 Min

FINDING NEMO, THE MUSICAL

40 Min 4 (2)(3) 15 (4)(5) 1 Hr 3 Hrs 1:3 9 Hrs 2.0 30 Min (6)

FLIGHTS OF WONDER 30 Min 5 25 1 Hr 3 Hrs 1:3 9 Hrs 1.6 30 Min (1) Rehearsal is not permitted between performances (except in genuine emergency). (2) Maximum Performance Day for performers in the roles of Marlin, Dory and Nemo shall be 3 – Show Value = 2.6 per performance. (3) Performers in the tracks that include the roles of Bruce, Anchor and Chum may perform only one 4-show day in a performance week. (4) Maximum Performance Week for performers in the roles of Marlin, Dory and Nemo shall be 13. (5) The Maximum Performance Week for Finding Nemo Matrix applies—as written—only to 5-day, 40-hour contracted performers.

For Principal performers on less than 40-hour contracts, the matrix will be pro-rated as follows: 4-day/32-hour contract, maximum weekly = 11 performances; 3-day/24-hour contract, maximum weekly = 8 performances; 2-day/16-hour contract, maximum weekly = 6 performances; 1-day/8-hour contract, maximum weekly = 3 performances. For Chorus performers on less than 40-hour contracts, the matrix will be pro-rated as follows: 4-day/32-hour contract, maximum weekly = 12 performances; 3-day/24-hour contract, maximum weekly = 9 performances; 2-day/16-hour contract, maximum weekly = 6 performances; 1-day/8-hour contract, maximum weekly = 4 performances. (See also (3) above.) Seasonal/Temporary substitutes will be scheduled in accordance with pro-rata maximum performance week described above, e.g., a Principal Seasonal/Temporary performer scheduled or called to work for 2 days in a workweek may not exceed 6 performances; a Chorus Seasonal/Temporary performer scheduled or called to work for 2 days in a workweek may not exceed 6 performances.

(6) The minimum time between performances may be reduced from 30 to 20 minutes in order to accommodate the need for additional performances and to maintain the practice of scheduling Performers for consecutive shows. Consideration will be given to Performers who do not wish to be scheduled for consecutive shows.

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EPCOT

MAX PERF

LENGTH

MAX PERF DAY

MAX PERF WEEK

MAX REH DAY

MAX REH

WEEK

MAX PERF:REH

CONV.

MAX SCHED

WORK DAY

SHOW VALUE

MIN TIME BET PERFS

AND/OR REHS CHEF REMY DE FRANCE

40 Min(1) (2)

5 25 1 Hr 3 Hrs 1:2.5 9 1.6 25 Min

EPCOT ACTING CO. 30 Min 5 25 1 Hr 3 Hrs 1:3 9 Hrs 1.6 30 Min MOROCCAN BELLY DANCER–RESTAURANT MARRAKESH

30 Min (3) 7 35 1 Hr 5 Hrs 1:3 9 Hrs 1.1 30 Min

“Mo’Rockin” Belly Dancer

30 Min 6 30 1 Hr 3 Hrs 1:3 9 Hrs 1.3 15 Min

SPIRIT OF AMERICA 20 Min 8 40 1 Hr 3 Hrs 1:3 9 Hrs 1.0 20 Min TURTLE TALK 20 Min (4)

(5) 8 40 1 Hr 3 Hrs 1:3 9 Hrs 1.0 15 Min (6)

VOICES OF LIBERTY (Echo Sets) (7)

15 Min N/A

7 2

35 10

1 Hr 0

3 Hrs 0

1:3 9 Hrs 1.0 0.5

15 Min 15 Min

ZITI SISTERS 30 Min 5 25 1 Hr 5 Hrs 1:3 9 1.6 30 Min SEASONAL CANDLELIGHT 60 Min 2 10 1 Hr 3 Hrs 1:3 9 Hrs 4.0 30 Min

HOLIDAY STORYTELLERS (8)

15 Min 8 40 1 Hr 3 Hrs 1:3 9 Hrs 1.0 20 Min

TREE LIGHTING 30 N/A N/A N/A N/A 1:3 N/A 1.0 15 Min

(1) Two performances may be combined once per day to create one longer performance, not to exceed 60 minutes in duration, Show Value 3.2. (2) After the performer has interacted with every table of guests, which may include additional interactions for guest special requests, the show is concluded and he is free to

leave the dining room. (3) Dancer not to exceed 15 consecutive minutes of dance. (4) Includes House turnaround. (5) It is mutually agreed that posted show times are approximate and may vary up to ten minutes without penalty (inclusive of release time). (6) Two consecutive shows may be performed, followed by a 25 minute break. (7) Echo Set may be substituted in place of normal 15 minute performance. (Show value to remain 1.0.) (8) Calculation of time necessary to travel between different performance locations shall be in addition to minimum time between performances.

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MAGIC KINGDOM

MAX PERF

LENGTH

MAX PERF DAY

MAX PERF WEEK

MAX REH DAY

MAX REH

WEEK

MAX PERF:REH

CONV.

MAX SCHED

WORK DAY

SHOW VALUE

MIN TIME BET PERFS

AND/OR REHS CAPTAIN JACK SPARROW’S PIRATE TUTORIAL

25 Min 6 30 1 Hr 3 Hrs 1:3 9 Hrs 1.3 25 Min

DAPPER DANS (1) 20 Min 9 36 1 Hr 3 Hrs 1:3 10 Hrs 1.1 20 Min DREAM ALONG WITH MICKEY

22 Min 6 30 1 Hr 3 Hrs 1:3 9 Hrs 1.3 30 Min

KINGDOM PLAYERS 30 Min 5 25 1 Hr 3 Hrs 1:3 9 Hrs 1.6 30 Min MONSTER, INC., THE LAUGH FLOOR

20 Min (2)(4)

10 50 1 Hr 3 Hrs 1:3 9 Hrs 0.8 15 Min (3)

MOVE IT, SHAKE IT, CELEBRATE IT!

40 Min (5) 4 20 1 Hr 3 Hrs 1:3 9 Hrs 2.0 30

SEASONAL CELEBRATE THE SEASON 25 Min 6 30 1 Hr 5 Hrs 1:2 9 Hrs 1.3 30 Min MICKEY’S NOT-SO-SCARY HALLOWEEN PARTY / MADAME CARLOTTA

30 Min N/A N/A N/A N/A 1:3 N/A 1.6 20 Min

MICKEY’S NOT-SO-SCARY HALLOWEEN PARTY / MIX & MINGLE

10 Min N/A N/A N/A N/A 1:2 N/A 0.8 20 Min

TOTALLY TOMORROWLAND CHRISTMAS

25 Min 6 30 1 Hr 3 Hrs 1:3 9 1.3 25 Min

(1) DAPPER DANS: If more than seven performances are scheduled, two performances shall be reserved for Bicycle and/or Trolley appearances. (2) Includes House turnaround. (3) Two consecutive shows may be performed, followed by a 25 minute break. (4) It is mutually agreed that posted show times are approximate and may vary up to ten minutes without penalty (inclusive of release time). (5) Includes five minutes captive time on float prior to Stepoff.

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RESORTS MAX

PERF LENGTH

MAX PERF DAY

MAX PERF WEE

K

MAX REH DAY

MAX REH

WEEK

MAX PERF:REH

CONV.

MAX SCHED

WORK DAY

SHOW VALUE

MIN TIME BET PERFS

AND/OR REHS

HOOP DE DOO REVUE 90 Min 3 12 1 Hr 3 Hrs 1:2 10 Hrs 3.33 30 Min MICKEY’S BACKYARD BARBECUE (1)

160 Min 1 5 1 Hr 3 Hrs 1:2 9 Hrs 8.0 60 Min

PIRATES AND PALS (2)(3) (4)(5)

90 Min N/A N/A N/A N/A 1:3 N/A 4.0 45

PRINCESS TEA PARTY (6) 110 Min (7)

2 (8a)

7 (8b) (9)

1 Hr 3 Hrs 1:2 9 Hrs 4.0 45 Min (10)

SPIRIT OF ALOHA (11) 120 Min 2 10 2 Hr 5 Hrs 1:2 9 Hrs 4.0 45 Min (1) After no more than 75 minutes of actual performance time, a break of no less than 20 minutes must be given. Subsequent to this break, after no more than 60 minutes of

actual performance time, a second break of no less than 15 minutes must be given. (2) Performance clock begins when performer enters stage for Welcome, then stops when performer exits. Performance clock begins again when performer enters stage a

second time and ends when performer goes backstage after fireworks. (3) The performance will normally include the Electrical Water Pageant and the Fireworks display, during which the performer is on break; in the event there is an unplanned

outage of the Water Pageant during the Pirates and Pals Fireworks Voyage, "Patch" must have no less than 11 minutes of break time during the Fireworks display. (4) In the event there is a planned time where the Electrical Water Pageant is scheduled outside of the Pirates and Pals Fireworks Voyage, "Patch" will return for the second

part of the performance 6 minutes later than normal. (5) Paid at no less than time and one-half overtime. (6) It is understood that scheduling will typically include a combination of “Princess Tea Party” performances and Atmosphere sets. (7) Performance clock begins when performer leaves Victoria & Albert’s, clock stops while held in stage right kitchen/prep area, and clock begins once again when performer

enters stage, clock stops at end of show when performer enters Victoria & Albert’s. (8a) On a day when only one “Princess Tea Party” performance is scheduled, the second show may be converted into two 30-minute atmosphere sets at 1.6 SHOW VALUE

each. On a day when NO “Princess Tea Party” shows are scheduled, five 30-minute atmosphere sets may be substituted at 1.6 SHOW VALUE each. Total show value hours for the week shall not exceed 28.

(8b) With a least seven days advance notice, if there are NO “Princess Tea Party” shows scheduled for that week, then the performer may be scheduled in accordance with the complete KINGDOM PLAYERS atmosphere matrix.

(9) The maximum performance week may be increased to 8 shows when no Atmosphere performances are schedule or converted, in which case the total show value hours for the week shall not exceed 32.

(10) Minimum time between performances when performing streetmosphere sets shall be 30 minutes. (11) The Fire Knife dancer may perform in the “Torch Lighting Ceremony” once per performance day and shall receive a separate stunt increment for said performance.

76

DISNEY’S HOLLYWOOD STUDIOS

MAX PERF

LENGTH

MAX PERF DAY

MAX PERF WEEK

MAX REH DAY

MAX REH

WEEK

MAX PERF:REH

CONV.

MAX SCHED

WORK DAY

SHOW VALUE

MIN TIME BET PERFS

AND/OR REHS AMERICAN IDOL EXPERIENCE (1)(2)

30 Min 5 25 1 3 1:3 9 1.6 30 (3)

AMERICAN IDOL: FIELD PRODUCER

25 Min 6 (4) 30 (4) 1 3 1:3 9 1.3 10 (5)

ANNOUNCER/MC/HOST N/A N/A N/A 0 0 N/A N/A 1.6 per 30 Min

Breaks must equal perf time

BEAUTY & THE BEAST 30 Min 5 25 1 Hr 5 Hrs 1:2 9 Hrs 1.6 30 Min DISNEY CHANNEL ROCKS 25 Min 6 21 (6) 1 3 Hrs 1:2 9 1.3 30 Min EPIC STUNT THEATER (7)(8) 40 Min 5 25 1 Hr 3 Hrs 1:2 9 Hrs 1.6 15 Min FANTASMIC 30 Min N/A N/A N/A N/A 1:2 N/A 2.0 30 Min HANDPRINT CEREMONY 20 Min N/A N/A 1 Hr 3 Hrs 1:3 9 Hrs 1.2 30 Min JEDI TRAINING ACADEMY(9)

30 Min 5 25 1 Hr 3 Hrs 1:3 9 Hrs 1.6 20 Min (10)

LIGHTS! MOTORS! ACTION! (Drivers/Motos) (15)

44 Min (11) 3 11 (13) 1.5 Hrs

3 Hrs (14)

1:2 9 Hrs 2.6 (12) 40 Min

LIGHTS! MOTORS! ACTION! (Actors)

44 Min 3 15 1.5 Hrs

3 Hrs 1:2 9 Hrs 2.0 40 Min

MULCH, SWEAT AND SHEARS(16)

30 Min 5 25 1 Hr 3 Hrs 1:3 9 Hrs 1.6 30 Min (16)

PLAYHOUSE DISNEY 26 Min 6 30 1 Hr 3 Hrs 1:3 9 Hrs 1.3 15 Min PLAY ‘n DINE 45 Min (17) 4 20 1 Hr 3 Hrs 1:2 9 Hrs 2.0 15 Min STAR CONVERSATIONS 30 Min N/A N/A 1 Hr 3 Hrs 1:3 9 Hrs 1.6 30 Min STREETMOSPHERE (18) 30 Min 5 25 1 Hr 3 Hrs 1:3 9 Hrs 1.6 30 Min VOYAGE LITTLE MERMAID (19)

20 Min 7 35 1 Hr 3 Hrs 1:3 9 Hrs 1.1 15 Min

(1) Two regular performances may be converted to one Finale show, with a maximum of 60 minutes and Show Value 3.2. (2) Warm Up Host’s set ends upon exit of the main stage. (3) Minimum time between the last regular show and the Finale show may be invaded for costume/makeup change (4) Maximum Performance Day may increase to seven performances and Maximum Performance Week to 35 during holiday seasons as follows: one work-week for Spring

Break; one work-week before and one work-week after Easter Sunday; Thanksgiving Week; and two work-weeks during the Christmas season. SHOW VALUE = 1.1. (5) Consecutive performances may be worked without breaks within 90-minutes of performance time, after which a 10-minute break must be given. (6) The Maximum Performance Week for Disney Channel Rocks Matrix applies only to 5-day, 40-hour contracted performers.

77

For performers on less than 40-hour contracts, the matrix will be pro-rated as follows: 4-day/32-hour contract, maximum weekly = 17 performances; 3-day/24-hour contract, maximum weekly = 13 performances; 2-day/16-hour contract, maximum weekly = 10 performances; 1-day/8-hour contract, maximum weekly = 6 performances.

Seasonal/Temporary substitutes will be scheduled in accordance with pro-rata maximum performance week described above, except that, a Seasonal Temporary performer scheduled or called to work for two days in a work-week may do 12 performances. If a Seasonal Temporary performer is scheduled for more more than two consecutive days of performances, and those three- or four-days span across the work-week (i.e., Saturday into Sunday), then the three-day/four-day pro-rata will apply. Example: for a Seasonal Temporary performer scheduled or called-in on Friday, Saturday and Sunday (or Saturday, Sunday and Monday), the maximum number of performances during the three-day period shall be 13; for a Seasonal Temporary performer scheduled or called-in on Friday, Saturday, Sunday and Monday, the maximum number of performances during the four-day period shall be 17.

(7) Stunt Rider performers shall be limited to 22 stunt performances, except as follows: (A) Chorus Stunt Rider performers shall be rotated through the roles of "Shill" or Stunt Driver, three times per week without loss of stunt increment. (B) Principal Stunt Rider performers shall be rotated through non-stunt principal roles no less than three times per week. (C) Any other additional Stunt Rider performances beyond 22 will be paid the appropriate overtime rate times Show Value.

(8) For actors playing Indy: Maximum performance day shall be four; Maximum performance week shall be 20. (Show value = 2.0.) (9) Jedi Training Academy sets may be exchanged for Motorcade (Parade) sets at a one to one conversion. (10) Jedi Training Academy sets may be scheduled consecutively in the middle shift, without a minimum break. (11) Includes the captive time in cars five minutes prior to published show time. (NOTE: Call to vehicles is five minutes before call to top of show and for purposes of this matrix,

“show time” begins with cue to “roll video.”) (12) (A) Included within the show value is the 30-minute vehicle warm-up, the final “show-ready” vehicle check, one duty-free 15-minute break prior to call to vehicles, the actual

performance as defined in (9) above, and the vehicle refuel after the performance. (B) With proper notice, a maximum of 2 vehicle warm-ups may be scheduled per day. Additional warm-ups, or warm-ups scheduled without proper notice, will be paid at

one-half the show value, at the appropriate overtime rate. (13) Applies to 5-day, 40-hour contracted performers only. Maximum performance week for performers on less than 40-hour contracts will be pro-rated as follows: 4-day/32-

hour = 9 performances; 3-day/24-hour = 7 performances; 2-day/16-hour = 6 performances; 1-day/8-hour = 3 performances. (NOTE: Non-contracted CTs will be scheduled as if they were CRs, e.g., a CT scheduled or called to work for 2 days in a workweek may not exceed 6 performances.)

(14) In accordance with Rule 30(D)(1), additional call time prior to the half-hour call shall count against this maximum rehearsal time, as will any other meetings, note sessions and post-show “Meet & Greets.” Note that such activities may not infringe upon the meal period and/or minimum time between performances.

(15) NOTE: A performance may be exchanged for Stunt Assistant or Show Stunt Captain duty at a 1:1 ratio, and will count toward the maximum performances/day and per week.

(16) For performances scheduled at Rockin’ Roller Coaster, five minutes of travel time may be added to the maximum performance length and, following the performance, the minimum time between this performance and the next performance may be reduced to 25 minutes.

(17) Within each 45-minute set, the performers will take two five-minute breaks, the timing of which may not disrupt the flow of the show. (18) Four performances and one parade may be worked when the parade is scheduled as first or last performance of Scheduled Day. (PARADE SHOW VALUE = 1.6). Three

performances and one parade may be worked when the parade is scheduled within middle of the Scheduled Day or during extended summer hours. (PARADE SHOW VALUE = 3.2).

(19) Two consecutive performances may be worked before a 15 Minute Break must be given. Three consecutive performances may be worked once a day before a 20 minute break must be given.

78

D.E.G. MAX PERF

LENGTH

MAX PERF DAY

MAX PERF WEEK

MAX REH DAY

MAX REH

WEEK

MAX PERF:REH

CONV.

MAX SCHED

WORK DAY

SHOW VALUE

MIN TIME BET PERFS

AND/OR REHSDEG SITE VISIT ACTORS 15 Min 5

(2) (3) 15

(2) (3) 1 Hr (1)

3 Hrs 1:4 9 Hrs 1.6 30 Min

(1) Rehearsals (for purposes of this matrix) include activities such as, but not limited to: prep work; research; costume fittings; travel; meetings; note sessions; etc. (2) Performance times (for purposes of this matrix) will be flexible within the nine hour span of day. Places call will also be flexible, meaning the clock does not start running

until the performance actually begins. (3) If a performer is released within the span of day (for purposes of this matrix) said performer can be called back to work and must remain available within the span of day.

i

INDEX

4

401(k) Plan .................................................................................................................................................. 28

A

Absence Notfication ............................................................................................................................................... 47

Access ....................................................................................................................................... 27, 35, 36, 60 Accident ................................................................................................................................................. 38, 57 Accompaniment ............................................................................................................................................ 4 Act of God ................................................................................................................................................... 47 Acting Coach ............................................................................................................................................... 19 Actors’ Equity Association

Business Representative ...................................................................................................... 10, 55, 60, 63 Constitution and By-Laws ....................................................................................................................... 64 Equity Business ...................................................................................................................................... 55 Equity League Pension ........................................................................................................................... 26 Equity Notices ......................................................................................................................................... 58

Added Performance .................................................................................................................................... 49 Additional Compensation .................................................................................................... 17, 18, 40, 41, 44 Administrative Meetings ........................................................................................................................ 16, 51 Agents ........................................................................................................................................................... 5 Aisles ........................................................................................................................................................... 37 Aliens ......................................................................................................................................................... 1, 2 Arbitration .................................................................................................................................................... 64

Arbitrators ............................................................................................................................................... 64 Expeditious Arbitration ............................................................................................................................ 64

Atmosphere ........................................................................................................................................... 35, 53 Audio Taping ......................................................................................................................................... 43, 69 Auditions

Audition ........................................................................................................................... 3, 4, 5, 28, 29, 55 Audition Notices ........................................................................................................................................ 4 Conventions ............................................................................................................................................ 55 Conventions/Special Events ..................................................................................................................... 5 Equity ........................................................................................................................................................ 4 Liability Insurance ..................................................................................................................................... 3 Local ......................................................................................................................................................... 4 National ..................................................................................................................................................... 4 New Productions ....................................................................................................................................... 4 Re-Audition ............................................................................................................................................... 7 Required ................................................................................................................................................... 4 Safe and Sanitary ..................................................................................................................................... 3

B

Bare feet ...................................................................................................................................................... 38 Bargaining Agent ........................................................................................................................................... 1 Barres .......................................................................................................................................................... 36 Beards ................................................................................................................................................... 31, 33 Blacklisting .................................................................................................................................................. 61

ii

Bona Fide Emergency ........................................................................................................................... 46, 47 Breaks

Breaks ....................................................................................................................... 50, 51, 52, 53, 54, 57 Conventions ................................................................................................................................ 50, 52, 53 Meal Break .................................................................................................................................. 48, 52, 57 Rehearsal ................................................................................................................................................ 50 Run-throughs .......................................................................................................................................... 50 Special Events ........................................................................................................................................ 52 Travel Break ............................................................................................................................................ 57

Bulletin Boards ............................................................................................................................................ 58

C

Call Boards ...................................................................................................................................... 3, 4, 5, 58 Call Time ......................................................................................................................................... 47, 49, 50 Casting ............................................................................................................................................ 2, 3, 4, 61 Catered Meal ............................................................................................................................................... 52 Center Line .................................................................................................................................................. 37 Check-off ..................................................................................................................................................... 60 Classes ........................................................................................................................................................ 57 Clean ....................................................................................................................... 31, 32, 34, 35, 36, 37, 38 Cleaning ...................................................................................................................................................... 34 COBRA ........................................................................................................................................................ 28 College Program ........................................................................................................................................... 1 Commercials ..................................................................................................................................... 5, 41, 42 Commissions ................................................................................................................................................. 5 Concessionaires .......................................................................................................................................... 59 Concrete .................................................................................................................................................. 3, 37 Contingency Shows .................................................................................................................................... 50 Continuous Shift .......................................................................................................................................... 47 Contract Completion Bonus ........................................................................................................................ 16 Contracts

Changes .................................................................................................................................................... 6 Clean ......................................................................................................................................................... 6 Renewal .................................................................................................................................................... 6 Rider ........................................................................................................................... 6, 39, 40, 42, 43, 44 Standard Form .......................................................................................................................................... 6

Contracts Voided ........................................................................................................................................... 7 Contractual Rate ........................................................................................................... 16, 17, 18, 19, 53, 55 Convention

Breaks ......................................................................................................................................... 50, 52, 53 Convention/Industrial Calls ..................................................................................................................... 53 Convention/Industrial Rates .................................................................................................................... 53 Rehearsals .............................................................................................................................................. 53

Conventions ...................................................................................................................................... 1, 41, 49 Required Voice-Over .............................................................................................................................. 43

Coordinator ................................................................................................................................................. 40 Copy to Equity ............................................................................................................................... 6, 7, 13, 42 Costumes

Bras ......................................................................................................................................................... 31 Cleaning .................................................................................................................................................. 34 Design ............................................................................................................................................... 29, 33 Disinfected ........................................................................................................................................ 32, 33 Dry .......................................................................................................................................................... 31 Fittings .............................................................................................................................................. 16, 51

iii

Hats/Headgear .................................................................................................................................. 31, 33 Hose ........................................................................................................................................................ 31 Masks ...................................................................................................................................................... 32 Rental ................................................................................................................................................ 15, 34 Skin Parts ................................................................................................................................................ 31 Socks ...................................................................................................................................................... 31 Stockings ................................................................................................................................................ 31 Substitute Performers ............................................................................................................................. 32 Tights ...................................................................................................................................................... 31 Wardrobe .................................................................................................................................... 16, 31, 51 Weight ............................................................................................................................................... 33, 52 Wigs/Hairpieces ................................................................................................................................ 31, 32

D

Dance Captain .......................................................................................................................... 17, 50, 53, 55 Replacement ........................................................................................................................................... 18 Temporary ............................................................................................................................................... 18

Dance Floors ......................................................................................................................................... 36, 37 Days off

Change in Scheduled Work Day................................................. 16, 22, 29, 46, 47, 49, 52, 53, 54, 55, 56 Change of Day Off .................................................................................................................................. 46 Day Off .................................................................................................................................................... 46

Deductions ...................................................................................................................................... 15, 29, 60 Dues .................................................................................................................................................. 15, 60

Delays Compensation ......................................................................................................................................... 48 Mid-Show ................................................................................................................................................ 48 Notice to Equity ....................................................................................................................................... 48 Performance ........................................................................................................................................... 48

Deputy Equity Deputy .................................................................................................................. 10, 55, 60, 61, 63

Discipline Disciplinary Action ................................................................................................ 4, 10, 11, 17, 58, 59, 69 Failure to Call In ...................................................................................................................................... 47

Discrimination .................................................................................................................................. 12, 60, 61 Dishonesty....................................................................................................................................... 12, 20, 26 Disinfected................................................................................................................................................... 33 Documentaries ............................................................................................................................................ 41 Double Time .................................................................................................................................... 19, 43, 48 Dressing Rooms

Dressing Rooms ................................................................................................................... 34, 35, 36, 38 Permanent Dressing Rooms ................................................................................................................... 35 Temporary Dressing Rooms ................................................................................................................... 36

Drugs ........................................................................................................................................................... 11 Dry ............................................................................................................................................. 31, 35, 37, 38

E

Early Release .............................................................................................................................................. 50 Entertainment Manager ................................................................................................. 17, 18, 19, 50, 53, 55 Entrances .............................................................................................................................................. 35, 37 Equal Employment Opportunity .................................................................................................................. 60 Equity Business ........................................................................................................................................... 55

iv

Equity League Pension Trust Fund ............................................................................................................. 26 Exclusive Service .......................................................................................................................................... 5 Exits ............................................................................................................................................................. 37 Extensions To Scheduled Work Day .......................................................................................................... 16 Eyewash ...................................................................................................................................................... 38

F

Falsification Of Records .............................................................................................................................. 11 Family and Medical Leave Act .................................................................................................................... 30 Fight/Stunt Captain ............................................................................................................. 18, 40, 50, 53, 55

Substitute ................................................................................................................................................ 18 Filming/Videotaping ......................................................................................................................... 41, 42, 69

Use in Production ................................................................................................................................... 41 Voluntary ................................................................................................................................................. 42

Firearms ................................................................................................................................................ 12, 39 First Aid ....................................................................................................................................................... 38 First Call of the Day ..................................................................................................................................... 48 Floors ............................................................................................................................................................ 3 Full-Time ....................................................................................................................................................... 5 Funeral Leave ................................................................................................................................. 29, 30, 47

G

Green Room ................................................................................................................................................ 35 Grievance .............................................................................................................................................. 62, 63 Grit ............................................................................................................................................................... 37 Grooming............................................................................................................................................... 12, 58 Gross Salary ............................................................................................................................................... 15 Group Insurance ......................................................................................................................................... 27 Guard Rails ................................................................................................................................................. 37 Guide Lights ................................................................................................................................................ 37

H

Hair/Hairpieces ...................................................................................................................................... 31, 33 Half-Hour Call ................................................................................................................ 51, 52, 53, 54, 55, 56 Harassment ........................................................................................................................................... 12, 61 Hats/Headgear ...................................................................................................................................... 31, 33 Health Care ................................................................................................................................................. 28 Heat ....................................................................................................................................................... 35, 36 Holiday Pay ..................................................................................................................................... 21, 22, 23 Holidays ........................................................................................................................................... 21, 22, 23 Housing

Temporary ............................................................................................................................................. 8, 9

I

Ice-packs ............................................................................................................................................... 38, 40 Inability to Perform .................................................................................................................................. 8, 12 Inclined Playing Surface .............................................................................................................................. 38 Individual Employment Contract ........................................................... 1, 2, 6, 7, 8, 9, 14, 16, 17, 26, 34, 40

Contracts .................................................. 5, 6, 7, 8, 10, 13, 15, 16, 17, 39, 40, 42, 44, 46, 58, 67, 68, 70

v

Riders .......................................................................................................................... 6, 39, 40, 42, 43, 44 Standard Contract Form ........................................................................................................................... 6

Individually Assigned ....................................................................................................................... 31, 32, 33 Initiation Fees .............................................................................................................................................. 60 Injury .......................................................................................................................... 3, 11, 21, 29, 37, 38, 59 Insubordination ............................................................................................................................................ 12 Insurance................................................................................................................................................. 3, 27 Interpretation ......................................................................................................................................... 58, 62 Intoxicants ................................................................................................................................................... 11 Intoxication ............................................................................................................................................ 20, 26

J

Joint Committee .............................................................................................................................. 60, 61, 62 Jurisdiction .................................................................................................................................................... 2 Jury Duty ............................................................................................................................................... 29, 47 Just Cause ........................................................................................................................ 8, 9, 10, 11, 12, 58

K

Keyboard ..................................................................................................................................................... 35 Kick-Plate .................................................................................................................................................... 37

L

Lasers .......................................................................................................................................................... 38 Layoff ............................................................................................................................................... 13, 14, 26 Lead ........................................................................................................................ 17, 18, 19, 36, 50, 53, 55 Leave

Compensable Injury ................................................................................................................................ 29 Family and Medical Leave Act ................................................................................................................ 30 Foreign Disney Employment ................................................................................................................... 28 Funeral Leave ............................................................................................................................. 29, 30, 47 Jury Duty ................................................................................................................................................. 29 Leave of Absence ....................................................................................................... 1, 12, 21, 28, 29, 30 Medical Leave ............................................................................................................................. 28, 29, 30 Temporary Leave .................................................................................................................................... 28

Liability Insurance ......................................................................................................................................... 3 Light Duty Work ........................................................................................................................................... 29 Lighting ............................................................................................................................................ 35, 37, 42 Locked Road Box ........................................................................................................................................ 36 Lockers .................................................................................................................................................. 34, 36 Lockouts ...................................................................................................................................................... 59

M

Make-up .......................................................................................................................... 9, 31, 33, 35, 36, 51 Specialty ................................................................................................................................................. 51

Management Rights .................................................................................................................................... 58 Masks .......................................................................................................................................................... 32 Matrix ............................................................................................... 44, 47, 48, 49, 50, 51, 52, 53, 54, 55, 71 Mats ................................................................................................................................................... 3, 38, 40 Maximum ................................................................................................................................................. 2, 47

vi

Meal Break ...................................................................................................................................... 48, 52, 57 Medical Leave ................................................................................................................................. 28, 29, 30 Mid-Show Delays ........................................................................................................................................ 48 Mileage .......................................................................................................................................................... 9 Minimum .............................................................................................................................. 16, 43, 44, 53, 54 Minimum Calls ............................................................................................................................................. 48 Minimum Guarantee .................................................................................................................................... 16 Minimum Notice .......................................................................................................................................... 46 Mirrors ......................................................................................................................................................... 36 Monitor System ........................................................................................................................................... 38 Moustaches ................................................................................................................................................. 33 Multiple Rates of Pay .................................................................................................................................. 16

N

N.C.A.A. .................................................................................................................................................. 3, 38 Narcotics ..................................................................................................................................................... 11 New Set ....................................................................................................................................................... 50 Non-performance Time ............................................................................................................................... 51 Non-Resident Aliens ..................................................................................................................................... 2 Notices

Audition Notices .................................................................................................................................... 4, 5 Official Notices ........................................................................................................................................ 58 Termination Notices .................................................................................................................................. 8 Two Weeks Notice .................................................................................... 7, 10, 11, 12, 13, 14, 22, 26, 46

O

Overtime Canceled ................................................................................................................................................. 47 Overtime ...................................................... 15, 16, 17, 18, 19, 22, 23, 43, 44, 46, 47, 49, 51, 53, 54, 56

P

Parades ................................................................................................................................................. 41, 52 Part-Time ....................................................................................................................................................... 1 Pay Day ................................................................................................................................................. 15, 68 Pay Rates .............................................................................................................................................. 15, 68 Payment in Lieu of Notice ............................................................................................................................. 8 Pension ....................................................................................................................................................... 26 Performance Delays .................................................................................................................................... 48 Performance Risks ...................................................................................................................................... 39 Performances

Performance Locations ....................................................................................... 34, 35, 38, 42, 50, 51, 57 Performance Time .......................................................................................................... 50, 51, 53, 54, 55

Performers Relations Committee ................................................................................................................ 10 Permanent Facility ...................................................................................................................................... 34 Personal Clothing ........................................................................................................................................ 34 Photographs ................................................................................................................................................ 44

Retail Sales ............................................................................................................................................. 44 Usage Fee .............................................................................................................................................. 44 Voluntary ................................................................................................................................................. 44

Pickets ......................................................................................................................................................... 59 Places Call .................................................................................................................................................. 51

vii

Platform Surfaces ........................................................................................................................................ 37 Platforming .................................................................................................................................................. 37 Probationary Period .................................................................................................................... 7, 10, 28, 67 Productions Canceled ................................................................................................................................... 6 Profane Language ....................................................................................................................................... 11 Prop Moves ................................................................................................................................................. 52 Property ..................................................................................................................................... 11, 31, 34, 36 Props ..................................................................................................................................... 9, 31, 34, 39, 50

Large/Heavy ................................................................................................................................ 50, 53, 55 Protective Clothing

Elbow Pads ............................................................................................................................................. 31 Publicity ................................................................................................................................................. 41, 45

Q

Qualified ................................................................................................................................................ 12, 40 Quick Change Booths ................................................................................................................................. 35

R

Recall .......................................................................................................................................................... 14 Recognition ............................................................................................................................................. 1, 17 Recording Sessions

Cancelled ................................................................................................................................................ 44 Required ................................................................................................................................................. 43 Rider ....................................................................................................................................................... 43 Voluntary ................................................................................................................................................. 43

Regular Full-Time .............................................................................................. 1, 2, 8, 19, 21, 23, 28, 29, 46 Regular Part-Time ............................................................................... 1, 2, 16, 19, 21, 23, 46, 47, 67, 68, 69 Rehearsal

Breaks ..................................................................................................................................................... 50 Rehearsal Locations ......................................................................................................................... 37, 52 Rehearsal Space .............................................................................................................................. 36, 38 Rehearsal Time .............................................................................................................. 50, 51, 52, 53, 55 Required ................................................................................................................................................. 50

Rehire Status ................................................................................................................................................ 8 Reimbursement ............................................................................................................................................. 9 Relocation ................................................................................................................................... 6, 7, 8, 9, 39 Renewal ........................................................................................................................................ 6, 7, 15, 46 Repair .............................................................................................................................................. 32, 34, 35 Reprimands ..................................................................................................................................... 10, 11, 12 Responsibilities ............................................................................................................................. 1, 9, 10, 67 Retail Sales ..................................................................................................................................... 41, 43, 44 Retroactive ........................................................................................................................................ 2, 49, 58 Riders ...................................................................................................................................................... 6, 40 Road Box..................................................................................................................................................... 36

S

Safe and Sanitary Auditions ................................................................................................................................................... 3 Safe and Sanitary ................................................................................................................... 3, 34, 35, 36 Weather .................................................................................................................................................. 34

Safety .............................................................................................................................................. 37, 39, 40

viii

Salary Negotiations ....................................................................................................................................... 7 Saleries ....................................................................................................................................................... 15 Scaffolding .................................................................................................................................................. 40 Scenery ................................................................................................................................................. 37, 52 Schedule Matrix .......................................................................................... 47, 48, 49, 51, 52, 53, 54, 55, 71 Scheduled Work Day ................................................................16, 22, 29, 43, 46, 47, 49, 52, 53, 54, 55, 56 Schedules.............................................................................................................................. 4, 46, 48, 51, 58 Scope ............................................................................................................................................................ 2 Seasonal Shows ........................................................................................................................................... 7 Seasonal/Temporary ....................................................................... 1, 2, 8, 15, 19, 21, 23, 46, 47, 67, 68, 69 Set Moves ................................................................................................................................................... 52 Severance Pay ........................................................................................................................................ 7, 13 Shoes

Dance Footwear ..................................................................................................................................... 32 New ......................................................................................................................................................... 32 Pointe Shoes ........................................................................................................................................... 32 Rental ...................................................................................................................................................... 34 Substitute Performers ............................................................................................................................. 32 Toe Shoes ............................................................................................................................................... 32 Tumbling Footwear ................................................................................................................................. 32

Show Value ............................................................................................................. 16, 48, 49, 50, 53, 54, 55 Showers ...................................................................................................................................................... 34 Sick Leave ........................................................................................................................... 19, 20, 21, 22, 26

Personal Leave ....................................................................................................................................... 20 Sinks ............................................................................................................................................................ 36 Sixth and Seventh Days .............................................................................................................................. 48 Skin Parts .................................................................................................................................................... 31 Smoking Area .............................................................................................................................................. 38 Sound Check ............................................................................................................................................... 54 Spacing Line ............................................................................................................................................... 37 Span of Day .................................................................................................................................... 46, 47, 48 Special Effects

Fog .......................................................................................................................................................... 38 Lasers ..................................................................................................................................................... 38 Pyrotechnics ........................................................................................................................................... 38 Smoke ..................................................................................................................................................... 38

Special Events ............................................................................................................................ 1, 33, 38, 52 Breaks ..................................................................................................................................................... 52 Required Voice-Over .............................................................................................................................. 43

Stage ....................................................................................................................... 35, 36, 37, 38, 40, 42, 50 Stage Fighting ............................................................................................................................................. 40 Standard of Conduct ................................................................................................................................... 10 Strikes ......................................................................................................................................................... 59 Stunt Captain ...................................................................................................................... 18, 40, 50, 53, 55

Substitute ................................................................................................................................................ 18 Stunt Filming ............................................................................................................................................... 42 Stunt Pay ............................................................................................................................................... 27, 42 Stunts .............................................................................................................................................. 19, 39, 40 Subcontracting .............................................................................................................................................. 2 Substitutes .................................................................................................................................... 1, 5, 31, 55

Non-Equity .............................................................................................................................................. 56 Out-Of-Unit .............................................................................................................................................. 56

Supplemental Workers’ Compensation ....................................................................................................... 27 Surfaces ...................................................................................................................................... 3, 32, 37, 38 Suspensions .......................................................................................................................................... 10, 11 Swings ............................................................................................................................................. 18, 31, 55

ix

Definition ................................................................................................................................................. 18 Pay .......................................................................................................................................................... 19 Vocal Groups .......................................................................................................................................... 19

T

Tardiness..................................................................................................................................................... 12 Taxes ....................................................................................................................................................... 9, 15 Temporary Facility ....................................................................................................................................... 34 Temporary Housing ................................................................................................................................... 8, 9 Temporary Matrix ........................................................................................................................................ 49 Termination

Notice ........................................................................................................................................................ 8 Performance Related ........................................................................................................................ 12, 13 Sick Leave .............................................................................................................................................. 20 Termination ................................................................................... 8, 10, 11, 12, 22, 27, 33, 41, 43, 65, 69 Two Weeks Notice .................................................................................................................................. 13

Toilet Facilities ...................................................................................................................................... 34, 36 Towels ......................................................................................................................................................... 33 Trampolines ................................................................................................................................................ 40 Transportation

Air Transportation ................................................................................................................................. 8, 9 Ground Transportation ............................................................................................................................ 57

Travel .................................................................................................................................... 6, 52, 54, 56, 57 Tumbling

Auditions ................................................................................................................................................... 3 Mats .................................................................................................................................................. 38, 40 Surfaces .................................................................................................................................. 3, 32, 37, 38 Tumbling ........................................................................................................................... 3, 32, 37, 38, 40

Turnabout Procedure .................................................................................................................................. 47

U

U.S.A.G. ................................................................................................................................................ 38, 40 Understudies ......................................................................................................................................... 31, 55 Understudy/Replacement ............................................................................................................................ 40 Union Representation ........................................................................................................................... 59, 60 Union Representative ............................................................................................................................ 60, 62 Union Rights .................................................................................................................................................. 1 Unit Acts ...................................................................................................................................................... 34 Unreported Absence ................................................................................................................................... 12

V

Vacation ...................................................................................................... 12, 20, 21, 22, 23, 24, 25, 26, 47 Priority ..................................................................................................................................................... 26 Requests ................................................................................................................................................. 25 Termination ............................................................................................................................................. 26

Vehicle ......................................................................................................................................................... 57 Vehicle Warm-Up ........................................................................................................................................ 77 Ventilation.................................................................................................................................. 32, 33, 35, 38 Videotaping ..................................................................................................................................... 41, 42, 69 Vocal Captain ............................................................................................................................ 18, 50, 53, 55

Replacement ........................................................................................................................................... 18

x

Temporary ............................................................................................................................................... 18 Voice-Overs .......................................................................................................................................... 43, 69 Voluntary ......................................................................................................................................... 42, 43, 44

W

Wardrobe Fittings .................................................................................................................................. 16, 51 Warm-up ................................................................................................................................................ 40, 51 Weapons ......................................................................................................................................... 12, 39, 40 Weather ........................................................................................................................................... 34, 37, 57 Wigs/Hairpieces .............................................................................................................................. 31, 32, 33 Wing Space ................................................................................................................................................. 38 Work for Outside Production Companies ...................................................................................................... 5 Work Rules ...................................................................................................................................... 22, 46, 69 Work Stoppages .......................................................................................................................................... 59 Written Notice ........................................................................................................................ 7, 12, 13, 44, 64

Documents

Walt Disneyworld RuleBook 12-17