All language subtitles for Still.Working.9.To.5.2022.720p.WEBRip.x264.AAC-[YTS.MX]

[woman 1] You, you were telling
me before, there's a great
organization here,

in fact, the title to your new

movie is 9 to 5. And you

really advocate

women getting together, Jane,
as a force to--

It's an organization of clerical
workers, office workers.

Uh, some people don't know what
women who work in offices have
to put up with--

how many people in the
audience are office workers?

Any of you work in offices?

-You a-- [laughs] you're not an
office worker. -[woman 1
laughing]

-Oh, you said women? Oh-- You
raised your hand! -I'm making a
mov--

-Oh, I raised it! -...a comedy
about, about office workers.

-Are you gonna hire-- is Dolly
Parton playing the lead? -Dolly
Parton, I think,

is gonna be in it. She plays
the boss's personal secretary.

-[laughter]
-[woman 1] Is that funny?

It's a movie about secretaries
fantasizing about murdering
their boss.

-So, it's not a political
statement, is-- is it? -[man]
Okay.

["9 to 5" by Dolly Parton]

-[scratching]
-[sharp ding]

♪ Well, I tumble out of bed
and stumble to the kitchen ♪

♪ Pour myself a
cup of ambition ♪

♪ Yawn and stretch and
try to come to life ♪

♪ I jump in the shower and
the blood starts pumpin' ♪

♪ Out on the street the
traffic starts jumpin' ♪

♪ With folks like me on
the job from nine to five ♪

♪ Yeah! Workin' nine to five
what a way to make a livin'
♪

-♪ Barely... ♪ -[Ellen]
One working woman in three in

the 1970s

was a clerical worker. It was
the largest job category in
America.

[Karen] So, when the movie
9 to 5 came out in 1980...

Typewriter, Dictaphone,
adding machine.

...the film was a tipping point.

We were reaching
millions of women.

Everybody was very nervous
about the movie,

because it was
three female leads.

And I got some flack
working with Jane,

being such a radical gal.

[Jane] I've always believed
that film is a good way

to throw light
into dark corners.

Uplift voices that
aren't often heard.

It really connected with me
and women of every generation.

My mother and my aunties,
there's the sisterhood on
screen,

the fabulous frocks.

[Violet] Welcome
to the front lines.

[Dame Jenni] And for
the first time ever,

you saw on screen
exactly what you knew

was happening in offices.

Hold it right there.

What?

Turn around a second.

Did I think that 9 to 5

would be relevant 40 years after
its initial release?

At the time, no.

[Amaya] It's 40 years later,
right? We still have
corporations

reinventing ways to really abuse

and take advantage of
vulnerable workers.

I didn't think anybody would
want to see it if it was a
drama.

-[laugher]
-[Jane] And once Lily Tomlin

and Dolly Parton came
into the picture,

it couldn't be a drama.

Obviously, it was
gonna be comedy.

You know, we use
metaphors in the film

to show how the women couldn't
break the glass ceiling.

Going up, girls?

No, we're going down.

-[soft clattering]
-[elevator door closes]

When I first read this script,

I thought it was
going to be a hit.

Because of the three gals,
Lily, Jane, Dolly.

"Stand up for yourselves."
These words were being uttered

by these icons.

"Don't put up with
shit." [chuckles]

"Demand respect."
It's a great message.

It was the top-grossing comedy
film of the year.

It did more than a $100
million at the box office.

It was very much radical and
transformative

in a way that was funny.

-[machine beeping]
-[gasps]

[Bruce] It was our
intention to have

more diversity
in the cast.

-[Violet] Two... -[Bruce] When
there were five secretaries,

we really wanted Diahann
Carroll to be one of the leads.

And there was a real
commitment to hiring

a diverse supporting cast.

At the time, there were very,
very few roles for Hispanics.

But a big feature

film, like 9 to 5,

to have a Hispanic character,
was a big advancement.

It was a gift from Jane, who
doesn't stand by injustice.

The real Jane, but
also her character.

Well, I'm gonna tell her,
this is a disgrace!

Attagirl.

But it did touch a nerve.

It was based in reality.

Wait, wait a minute. Weren't
you checked out on this machine?

I mean, any moron could
operate this thing.

It did resonate
with enough people

that it really,
right out of the box,

it just kept getting
bigger and bigger.

Something wrong? I got something
on my dress?

[man] Nothing's wrong.

As a matter of fact,
everything is...

-...very, very right.
-[Zoe] Because it was about

an experience most working
women were having in America,

it was a breakout moment.

You're so intimidated
by any woman

that won't sit at
the back of the bus.

Spare me the women's
lib crap, okay?

If a movie was advertised as
a women's liberation movie...

-[man] Mm-hmm. Right. -...me
personally, would probably not
wanna go to it.

[Bruce] Jane and I had been
working on something called

the Indochina Peace Campaign
and other issues,

and out of that, we decided
to try to move forward

to do films that were about
the same kinds of social issues

that we'd been involved with

as social activists
and organizers.

[Jane] If you're
gonna make a movie

and what you're
really trying to do is

inform people about an issue

that you think is important,

you have to embed it in a style.

[narrator] It's about people
faced with the agony of telling

the truth.

[Bruce] We made The China
Syndrome, which was about

-the dangers of nuclear

power. -[narrator] The

closer they get,

-the more threatening it will

become. -[Bruce] And a

movie about

the Vietnam War,
Coming Home.

It was nominated for Best
Picture and Best Screenplay,

it won for screenplay and
actor and actress.

Jane won her second Academy
Award with that movie.

Even if people don't agree with
what you're saying

or don't care about the issue,
they're gonna wanna see it,

'cause it's a good
thriller or a good,

sexy love story
or a good comedy.

[upbeat whimsical music playing]

[grunting and
indistinctly mumbling]

Well, 9 to 5 was the

name of the movie,

because that was the name of
the organization

about working women looking
for equal pay for equal work.

[woman] Would one of
you like to tell me

how did this
project get started?

I think Jane should probably

tell you that,

because she's the one
who started this mess.

-[woman] Jane?
-[laughter]

Well, I just thought
the time had come

to make a movie
about office workers,

and I wanted to work
with these two women,

particularly these two women.

-It's a comedy?
-God, yes.

-It's a comedy with-- -Very
farcical, very funny.

-[man] Filled with truth? Right.
-Yes.

Women are on the lower end of
the pay scale

-and in 9 to 5, you know,

it's a depiction really...

-[man] Right.

-...of those kinds of
conditions. -[man] Yeah.

-What was your boss like?
-Now, you got that?

You're the boss.

You might remember that a little
more often.

Women feel their
work is important.

They know that, uh, that it's
skilled work,

and they wanna be
treated with respect,

that manifests itself
both in the paycheck

and in their treatment
in the office.

Boston has the third
lowest pay scale

for clerical workers, uh, of the
15 largest cities in, in the
United States.

Plus, we have the
highest cost of living.

[Bruce] Karen Nussbaum was
a powerhouse organizer,

and Jane and I had known her
for many of the social
movements

that had been going on in the
late '60s and early '70s.

[Jane] So, whenever I would see
Karen, you know,

her day job was organizing women
office workers.

And she would tell me stories
about what they would have to
put up with.

Not just in terms of
sexual harassment,

although that was pretty
bad, but, uh, wage theft,

being fired if
they were pregnant.

[soft clacking]

[Karen] In the 1970s,

there were 20 million

women office workers
in the country,

but we were totally invisible.

We didn't exist in
the popular culture.

[light whimsical music]

We started an organization

called 9to5 in 1973 in Boston.

We'd gotten a little
bitty office at the YWCA,

where two of us were
working for 9to5,

while we also had our day
jobs as clerical workers.

I was very taken with the
history of garment workers,

young women at the turn of
the 20th century

who led these huge strikes,

walked out of the
garment factories

and won the eight-hour day,

protection from
accidents on the job.

And here I was, sitting
in a room full of women,

and I thought, "Hmm, this
is kind of the same thing."

And of course,
working in an office

was a lot more pleasant and safe

than working in a garment
factory 100 years before.

But there were certain
things in common.

The job itself is
good because, you see,

besides that women
that have the children,

that stays home and, and cleans
the house or cooks dinner,

the job enable us to see
ourselves as independent women.

[Karen] I look back on it now

and we were so modest
in our demands.

"We should have job posting.

We should at least know what
the jobs are!"

That was one of our big demands,
job posting.

But we were also new to this.

We were reaching into women
who were not activists

in any part of their lives.

[Ellen] Women were not able to
march into their boss' office

and demand a raise.
So we provided forums

where people could speak up.

[Karen] And share
their concerns.

And so, we were
all there together.

Every class,
racially-mixed.

And our motto was,

"Raises, Rights,
and Respect."

[Ellen] The issue of respect,

of being taken seriously
as a worker and as a woman,

was something that
office workers

needed to express,
bosses needed to hear,

members of the public needed to
hear, the media needed to hear.

-Okay, okay-- -[Ellen] And

Violet really expressed it

beautifully.

I am your employee.

And as such, I expect to be
treated equally.

With a little dignity and
a little respect!

[women singing] ♪
Secretaries unite ♪

♪ Let's show them
how we fight ♪

♪ For better pay
promotion and respect ♪

♪ We've sat back
long enough... ♪

[reporter] The point that
secretaries, as working people,

might have legitimate labor
grievances is not a new one.

What is new is the particular
forum for dissent.

It's not the disembodied voice

of the amorphous
feminist movement.

It's this city's secretaries

talking about this city
secretary's problems.

I got very tired of apologizing
for being an office worker.

And I really believe
that what I'm doing

is very important to the economy

and that I should have some
respect for what I'm doing.

[Karen] Equal pay,
sexual harassment,

childcare, those
issues unite people

who had been divided across
different kinds of jobs.

So, we developed what we called

the 9 to 5 Bill of

Rights.

The more our members
found their voice,

our demands became more serious.

There was a point at
which the women said,

"Wait a damn minute! I'm
not gonna take it anymore."

Jane has this uncanny ability to
see a social trend

and how that can be
brought to the public,

and so, she met with
some of our members

to talk with them about
their experiences.

[gentle music]

After hearing a lot of
the stories, I said,

"I-- I would like to make
a movie about this."

[Karen] I put together
background stats

for Jane to give to
the studio that said,

"There's an audience for this."

When popular culture
thought about work,

they thought about
men in hard hats.

But there're 20 million women
office workers,

and they were starving for
this kind of representation.

That was important in getting
a studio to take a, a gamble.

[Bruce] Karen's background
information was just data

and newspaper clippings,
it wasn't a movie story.

I couldn't see doing a straight
dramatic movie

that would be interesting enough

for a mainstream audience to
be able to deal

with the subject matter and
entertain them at the same time.

And that's a lot harder than
people think it is.

-[train bell dinging]
-[loud rumbling]

Preston Sturges films were what
I would call "social comedies."

One in particular that stands
out is Sullivan's
Travels.

We made it.

Amateurs.

Sturges would put
his protagonists

in a really unusual situation.

[brakes screeching]

-What you doing down there?
-[Bruce] They were very
funny,

but they were a real
commentary on the times.

I want this picture
to be a document.

I wanna hold a
mirror up to life.

I want this to be a
picture of dignity!

A true canvas of the suffering
of humanity.

-But with a little sex in it?
-With a little sex in it.

-How about a nice musical?
-How can you talk

-about musicals-- -[Bruce] Just
boom, it just hit me.

"The way to do this movie
about women in the workplace

is to do it as an
ensemble social comedy,

like Preston Sturges."

-[upbeat dance music]
-[horn blaring]

[Lily] Well, Jane came to
see me at the Ahmanson,

I was doing

Appearing Nitely,

which was my first
Broadway show.

And I was really excited that
she was coming to the show,

and she came backstage,

and I'd been a fan of
hers for many years.

[Jane] Just had blown my
mind and made me feel that,

"I don't wanna make a movie
about women office workers

if Lily Tomlin
isn't one of them."

-I was smitten. -Boogie's not a
meaning, boogie is a feeling.

Don't try to understand it,
try to feel it.

-Do ya feel it?
-[crowd laughing]

[Jane] And then,
um, true story.

I was driving home
from that event

and I turned on the radio, it
was Dolly Parton singing "Two
Doors Down."

-♪ Two doors down... ♪
-[Jane] I thought, "Wow."

♪ ...and drinkin' and
having a party... ♪

[Jane] She's never

been in a movie...

♪ Doors down they're
not aware... ♪

...but I bet she can
be herself on camera

and herself is
so multi-layered

and interesting that
that would be just fine.

♪ Having a party
just two doors down ♪

[Jane] And I could
see her, you know,

just the visual of... [laughing]
she can't see her fingers

and she's got these long nails,
I thought it would be a really
cool thing.

-Hi, Violet. How's everything
going? -[Violet] Oh, d--

[Dolly] I was getting to be
popular in country music,

and Jane Fonda called
me up and said,

"You're Dolly Parton." I said,
"Yes, I am."

She said, "Well, I'm
Jane Fonda." And I said,

"Yes, you are."
[chuckling] Anyway,

I was really excited that I was
even gonna get to work with
Jane.

This is Judy Burnley. Judy's
gonna be working over in my
section, DoraLee Rhodes.

-Hi, Judy. Nice to meet you.
-How do you do?

Hope everybody's been treatin'
you real friendly.

-Showin' you around? -[Dolly]
Well, when I first started

working with Jane,
I thought, "Nah, no,

I hope she's not
gonna be so radical

and so opinionated
and so political

that I'm gonna be
uncomfortable."

And I even said that to her.
You know, when we started,

I said, "Now, I'm not
a political person."

♪ My mistakes are no
worse than yours ♪

♪ Just because
I'm a woman ♪

-♪ My... ♪ -[Dolly] I

didn't have to march up and down

the streets

as I still don't. I try
to live my convictions.

I'd been writing
songs about women

and their strengths
since my first album.

But I was dealing with Jane
Fonda, the actress, the
producer,

and that we were doing a good
film that had a good message.

We cast this movie before
the movie was written,

and I've never done this
before, uh, or since.

Um, it really helped in-- inform
the development of the
characters.

So, we pitched the idea to
20th Century Fox

and they made a
commitment to a script.

Not to the production, but just
to the writing of a script based
on this idea.

So, there are three secretaries
working for the worst boss in
the world,

and they, they decide
to try to kill him.

And that's where
we started from.

I went and applied for a job
as a secretary,

and this guy who
was hiring said,

"Well, she can't really type,
but I'd take her out."

[laughing] So, tells you
a little bit about, um,

when we were. And the
characters, particularly,

what ended up being
Dolly's character,

very much based on the research
that I did.

But we were not entirely happy

with the tone that, uh, emerged.

It was a comedy, but it was
a very dark comedy.

I had them try to kill him,

in funny ways, but it's
still-- it's a black comedy.

[Bruce] To me, the tone
was of utmost importance...

-[frantic music playing]
-...because of the nature of
the subject matter,

where the three women
were going to be

the protagonists in the film,
and there was going to be a
boss

who was definitely not very
attractive, antagonist.

-[muffled groaning] -[Violet]
So, what are we gonna do now?

To have men watch that

and identify with the women was
very important.

So, uh, we adapted the script to
the new situation

and hired Colin Higgins, the
wonderful writer-director.

[gentle music]

You know, he wrote Harold
and Maude. [chuckles]

[Lily] Isn't that enough?

I just love Harold and

Maude, and I was so excited

when he got involved
with our movie.

Oh, Harold. I am happy.

He had a quirky view of people.

-[shouts] What?
-[siren blaring]

[Jane] And he had a kind
of feminist sensibility.

He loved women.

I love you.

There was no hidden agenda.

We always knew what he felt

and what he-- what he wanted.

So, it was very
easy for all of us,

but that was especially
important for Dolly,

because she'd never
made a movie before.

[Dolly] Colin was
so gentle, so sweet.

He was not, like,
scary or demanding,

he was not loud.
And that was good,

because I would've not
enjoyed a first movie

with someone like that.

Those three ladies
are just the best.

It was very hard for me because
I had my vision,

it was different
than his vision.

He had little
cartoon birds and...

...fantasies, and it was
pretty slapsticky.

-Violet, get me some coffee.
-[sparkly music playing]

Yes, sir!

[Bruce] Colin came up
with the fantasy sequences

during this process of trying
to come up with a new story
for 9 to 5.

[Jane] We got about
40 women together

from the 9to5, National
Association of Women Office
Workers,

and they went around in a circle
and they told their story.

It was a very stiff and stilted
conversation.

[deeply inhales] And just when
the meeting was about to end,

Colin said, "Do any
of you ever fantasize

what you'd like to do to
your boss?" [laughs]

I just thought, "What a genius!"

And we went around
the circle again.

[upbeat jazz music]

One woman wanted to cut her boss
up into little pieces

and put him in the
coffee grinder,

and then put him in
the coffee machine

and have him...
[laughing] drip out.

"Put rat poison in his coffee."

One woman wanted to shred
her boss in a paper shredder.

I could laugh,
Colin could laugh,

as men, in this
room full of women,

listening to their
very visual fantasies

about doing in their bosses in
very graphic,

-almost cartoonish ways.
-[whooshing and dogs barking]

[loudly gasps] Who's there?

Looks like you've got
yourself in a spot of trouble.

[Dabney] When I think of that
movie, I always think of Jane

when she came out in that outfit
dressed like a safari hunter.

You're a sexist, egotistical,
lying, hypocritical bigot.

So, I have a few
faults, who doesn't?

Is that any reason to kill me?

-[gunshot]
-[Dabney] And it was funny,

which is the best way
to convince anybody

of anything, in my opinion.

I know it's kind
of controversial

to kidnap your boss...

[announcer] ...Miss
DoraLee Rhodes...

...and, um, hold
them hostage, but...

[indistinct mumbling]

...it seemed like th-- the right
thing to do.

[Lily] Well, I was living in
New York at the time.

And, uh, I didn't
like some of the humor

in the 9 to 5 script, so

I turned it down... at first.

There was, you
know, things in it

that I would consider kind of
silly or empty.

[jazz music]

Like, when we were drinking

in the bar after work.

Would you two show
a little spunk?

I mean, what are you,
a man or a mouse?

I mean, a woman or
a wouse. [laughs]

-Hey...
-[Bruce] When Lily Tomlin

turns down your script and tells
you it's not very good,

you start to worry

because she's such
a comedic genius

that you begin to think,

"What am I not seeing
in this script?

-What is she seeing?"
-I said first, "man or a mouse,"

then I say, "woman or a wouse."

I don't know, that's just
sort of foolish rhyming.

[laughs] And so, I, I tried
to get Colin to change that.

And my partner, Jane, she said,

"You threw that script back in
Jane Fonda's face.

She developed that movie for
you and Dolly.

What is wrong with you?"

[sighs] "I don't know." [laughs]

And I-- but I-- you know,
I was-- I don't know.

[Dolly] Well, it wasn't hard

for me to make the decision

to do the movie,
because when they said

its Jane Fonda and Lily Tomlin,

I thought, "Well,
how hard can this be?

If it's a big hit,

I'll get to, you know, roll
around in the glory.

And if it's a flop, I can
blame it on them,

'cause nobody knows me, anyway,
in the business."

-Morning. -[Dolly] And Dabney
and I had such fun reversing
roles.

-Turn around for a second.
-[sighing] Oh.

[whistles] Oh, you
got a nice ass, Frank.

No wonder we were all scared to
death to work with this dynamo.

She's frightening.

[Dolly] I got to

do what Mr. Hart

had been doing to us
girls in the office!

[sniffs] Boy, that's great
cologne you're wearing, Frank.

Oh, thank you. [chuckles]

That stuff's turning me on.
What's that called?

-STUD.
-STUD!

[Bruce] Dolly came
on board right away.

Colin Higgins and I had
actually flown to New York

to talk to Gilda Radner about
possibly replacing Lily.

-...selection, Gilda.
-Gilda. Oh,

that struck a knife in my soul.
I adore Gilda.

And she's from Detroit.

I said, "Oh, God,
Gilda'll get this part.

I don't know, I don't know."

And so, I went home,
and I told Jane

that I had turned it down.
That's when Jane really hit the
roof.

She said, "You get on the phone
and call them

and tell them you
want that part."

Yeah. She came to her senses,
so all was good.

[woman] What about playing a
secretary that appeals to you?

I mean, you've played almost
everything now.

Well, I play a woman who's, um,

never worked in her life. She's
a middle-class woman

who's just been
left by her husband,

and who goes into
the job market,

enters this working world of
9 to 5 for the first time.

[upbeat whimsical music]

[young Lily] In 9 to
5, what's depicted is

just how much we keep
the office running.

That's 2:10, at thirty--

[young Lily] Because I'm a
supervisor, I'm not an
executive,

but I'm, I'm kind of in
charge of a big section,

and I'm an old veteran,
I've been there 12 years.

I'm a widow. I have four kids,

and I really have
to keep my job,

but the boss-- I
trained the boss,

-I've trained everybody.
-Right.

-We could improve efficiency
by up to 20%-- -Oh, well,

color-coding, sure,
I looked into that,

but that, that needs a little
work. I mean, I'm gonna have

to get back to you on
that. Yeah. Mm-hmm.

[sniffs] Okay.

But they never promote me to
a-- any executive position,

and he steals my ideas.

We are gonna start color-coding
the accounts from now on.

-Frank's done a brilliant study
with efficiency-- -Yeah, thank
you, sir.

Really? Congratulations,
Mr. Hart.

[man] What was new to you about
doing a film?

Now, as I understand it,
you hadn't even seen

a film being made,
is that correct?

That's true. I had went through
the Universal Tour.

[laughter]

Dolly has this, you
know, giggly persona

that is so a-- approachable,
and she's so funny.

-It wasn't really a surprise
that she could act. -Oh, hi,
Judy.

-How's everything going?

-[Bruce] She plays the

beautiful assistant

secretary.

Hey, how would you like to have
lunch with me today?

Well, I'm afraid
I, I can't, thanks.

-[indistinct chatter] -[Bruce]

That is looked at

by some of the other women
as being kind of less than.

Well, I think I should stay in
the office an--

and get to know the routine, uh,
but thanks, anyway.

-Yeah, sure. -[Bruce] It's
kind of a, a reverse sexism,

actually.

Because of their looks,
they're viewed as not having
top-notch skills.

Those stereotypes really seeped
into women's consciousness,

and it took a lot for women to
really examine that,

and say, "Is that really me?
Am I the office girl?

Or am I a working woman who
deserves to be taken seriously?"

-Franklin Hart's office.
-[Bruce] In a funny kind of way,

these three very
different actresses

also sh-- [chuckling] you know,
shared several things

of, uh, trying to make it in a,
in a male-dominated industry,

playing characters in a movie
about women in a male-dominated
industry.

That really lent itself to
developing that close personal
relationship.

Sometimes, during the movie,
it was like in high school.

You know, like, I'd see the
two of them talking together,

and then I'd think,

"They like each other
better than they like me."

-[laughter] I always thought
that... -Lily was always--

...th-- especially the first
couple of weeks, because you two

started before I
did, and I'd come in,

and you'd be in there working
in the kitchen,

th-- you know, the
office kitchen,

and I was just sure that they
were, like, best friends,

-and they sort of liked me.
-[laughter]

I do remember that
coming on the set

the first day with Dolly was--

uh, she had--

uh, was quite surprised
we were not shooting

the first scene first.
That we were, you know,

shooting the office scenes,
because she had, uh,

memorized the whole script.

-[young Dolly] I just assumed we
had to-- -[man] Like a play.

-Everybody's part, though.
-Yeah, my part and her part

-and her part and Dabney's part.
-[laughing]

But I'm not-- just knew
the script back and forth.

And I just, every week,
I would, you know,

I would read it and I would read
it with my secretary.

-Uh, I'd have her read the other
parts. -Did y-- did you
practice--

-did you pra-- -Yeah, I would
practice, yeah. And, uh, that
was fun.

-It was-- I tri-- -How were
you in my part?

I was great in your part.

[Lily] The first
day of shooting,

I had to shoot
for the animation,

and of course, the
animation wasn't there.

So, it's, like, I had
to, like, you know,

like, little birds are flying
around me and all that stuff.

[animated music playing]

I just thought I was terrible.

I saw my image and I thought,

"Ugh, how so stupid, I just
can't go through with this."

So, I went to Bruce
Gilbert and I said,

"Bruce, you gotta let
me out of the movie,

you don't have to
pay me or anything."

Those 24 hours, when
Lily Tomlin said

she thought she
should quit the film

or that I should release
her from the film

because her performance
wasn't up to snuff,

wa-- you know, w-- was
o-- one of those moments,

especially since Lily Tomlin

was so key to playing
the demented Snow White,

and she had turned the project
down once before.

I saw my life flashing
before my eyes.

Just the first day
of shooting in film,

and one of the lead actresses
wants to quit the picture.

Now, nobody tells Lily

in their right mind
how to be funny.

[whimsical music playing]

And if it's not funny now,
it will be in five seconds.

And funnier the next day because
she knows how to be funny.

We loved Dabney 'cause he was
a scoundrel that--

just lovable scoundrel.

You girls, of course,
never got a chance

to play football or baseball.

[Lily] And Mr. Hart's
walking around,

pontificating about teamwork
and playing football.

...it's probably the best place
to learn what teamwork is all
about.

And I said to Colin, "Can I
just say to Judy, sotto voce,

'Well, I've got the bad back
to prove it.'"

And Colin'd say, "Oh, no, no,
they'll never hear that."

-It's weakest link-- Goddammit!
-[chair clacks]

[Lily] And sure enough, they
didn't. They were laughing

at Dabney so much, they
would never have heard me.

-Well, I-- -I like someone
who knows where the laughs are

ahead of time.

-Good God.
-Oh.

[indistinct mumbling]

-[door closes]
-Who was that?

-A friend.
-Obviously.

So, that's what you're
into now. Bondage?

-What's that?
-And later, Jane says,

"And if I want to do M&Ms or..."

...have an affair or, or play,
play sex games,

or do M&Ms, you can't stop me!

-M&Ms? -[Lily] I said, "Well,
I don't like that joke.

That's just too
lame." And every time,

I'd go to the, to the screening
and there'd be riotous laughter.

Colin always knew his audience.

And he knew where the laughs
were, he was really kind of
divine that way.

So I learned that
Lily's first reaction

is not always the best reaction.

[light melancholic music]

[Jane] Back when we made

9 to 5 in the late '70s,

women earned less than 60
cents to the dollar

that a man would earn
doing the same work.

And it wasn't easy for women to
talk about money.

So, we wanted to show how...

...biased the system
is against women.

All I have done
is be a housewife.

-Mm. -Oh, I wanted to ask you
about my salary.

-I don't think I c-- -It's a
very touchy subject around here.

You'll have to take that up with
our boss, Mr. Hart.

Only six out of 100 women

ever made it into management
out of the typing pool.

[Jane] So, a very smart
woman like Violet...

-Would you look at this?
-...could train a new guy,

and then, he would just be
promoted right past her.

For Christ's sake,
I trained him.

I know that, but see,
the, the company--

Oh, the company bullshit!

It's your decision, you
promoted him. You tell me why.

-He does have a family to
support. -And I don't?

[man] You don't like
women out on a job?

Well, uh, homemaking has its--

there's two things must clarify,
there are homemakers

and there are women that
work o-- outside of the home.

Uh, putting these things in
proper perspective.

Women should st-- still
should be women, you know.

The girls, I think, uh, got
it over the guys.

They get everything paid for and
everything else.

I don't see what, what they're
really... arguing about.

I think they have just as m--
many rights as the guys have.

Well, women that, uh, probably
have been divorced or something

have to go out and work. I think
there's a special type of work
that they should do.

But I think they, uh, should do
feminine work.

[young Jane] You know, a lot of
people believe

that women who go to work, uh,

do it s-- out of some trip,
they wanna be liberated.

And, uh, you know, I
think it's important

to recognize that women work
'cause they have to.

[Violet] Norman, she has never
worked in her life before!

She needs the job. She's
recently divorced.

And so? And I'm a
widow with four kids.

Jerry should've
never died, I c--

I'd be better off, I could have
divorced him.

[light whimsical music]

Many women are the sole
supporters of families,

and many women have
to work to supplement

their husband's income in order
to raise the family income

above the poverty level.

My husband's income did
not cover all of our needs.

So I started pursuing a job.

And everywhere I went,
they turned me down.

They said, "We do not have work
for any women."

Wouldn't even let me fill out
an application.

I'd even offer to
work free for a week

to prove that I
could do the job,

and they still were
not interested.

I have four children.

Are you the sole
support of the children?

-Yes. And I do have-- -That's
a pretty strong issue.

And I do have to work.

[Patricia] But there
was no childcare.

Where were you supposed to
leave your kids?

Women are expected to be
the primary caretakers

and still show up at offices.

I don't think you can go out to
work not knowing,

you know, whether your child
is being cared for properly.

It's definitely a, a thought in
your mind at all times.

[gentle music]

[Ellen] It used to be the man
working at a job

and the woman staying home and
taking care of the children.

Now, all of sudden,
we have the syndrome

of women office
workers being expected

just kind of take care of men
in the office.

Coffee, Violet.

Now.

Yes, sir.

[Karen] This notion
that you were there

to get their coffee
just drove us insane.

[Rita] I would call them
the Bustelo woman.

Bustelo is a brand of coffee.

And, uh, that's
all I was offered,

those kinds of parts after I did

West Side Story. You

know, coffee pourer.

The old thing about coffee and
who gets coffee,

I mean, that's not such a
big deal, it's just a symbol.

-[man] Oh, right, yeah.
-Uh, but when people get

a little more aware about
symbols, it means a lot.

Your coffee, Mr. Hart.

I'm glad I had the
presence of mind

to be a liberated Snow White.

[whimsical music playing]

I think there was something
in that coffee!

Bingo.

[Mr. Hart screaming]

We used to call it, "being
the office wife."

You had to take over all of
the daily duties

of whatever man you
were working for.

The things that bosses felt free
to ask their secretaries was
just jaw-dropping.

We had a boss who
required his secretary

to sew a seam in his pants while
he still had them on.

Another boss who required a
secretary to clean his dentures.

One who gave his
secretary his beeper

to go cruise in the bar
downstairs from the office,

and let him know if there'd be
any women there

who met his specifications.

And so, the movie is trying
to grapple with these issues.

Oh, Violet, by the way, my
wife is coming by later on.

I'd like to get her a little
present. Could you pick her out

a nice scarf or something?

All I'm saying, Mr. Hart,

is that my job description
doesn't say anything

-about making purchases for your
wife. -Goddammit!

When I ask an employee,
especially one

who wants to be
promoted to management,

I expect a little cooperation--

[Jane] The issue that got
the most attention

because it has to do with sex is
sexual harassment.

[phone ringing]

-Hello. -[Shirley] The calls
come in every single night.

They range from a
very young woman

being harassed by her employer
for sexual favors

to a very elderly
woman being harassed.

Fortune 500, small companies,
school systems.

I can't think of any particular
kind of work environment

from which we haven't
received a call

of either discrimination or
sexual harassment.

These women need their jobs

and they have to put up with
the kind of remarks

and the kind of attitude

that no worker should
have to tolerate.

You know what the man needs? The
man needs a good piece of ass.

Why don't you fix him up with
your secretary?

-She's the choicest piece around
here. -No, no, no.

That's baby's for papa.

[Bruce] You know,
we cut down on some

of the sexual harassment scenes.

Some of them were
just too cringeworthy,

but the ones we left in were
certainly reflective

of women's everyday experiences.

It's five o'clock,
Mr. Hart. You wanted to see me?

[Mr. Hart] Oh, I
did, DoraLee. Uh,

I'd like you to come over to my
house tonight.

Oh, wait now. I'm not, uh,
working tonight, Mr. Hart.

This is Friday, remember?

Uh, who said
anything about work?

-[chuckles] -[Dolly] I don't
take life too serious,

but 9 to 5, it
touched on some things

that needed to be
touched on at the time,

back when we did this
in, uh, '79, '80.

-Now, let's don't get excited.
-Get your scummy hands off of
me.

Look, I've been straight with
you from the first day I got
here,

and I put up with all
your pinchin' and starin'

and chasing me around the desk
'cause I need this job.

-But this is the last straw!
-Sexual harassment.

It wasn't talked about then.
Now, it seems like, "Duh."

-Look, I got a gun out there in
my purse. -[grunts]

And up till now, I've been
forgiving and forgetting

because of the way
I was brought up.

Like DoraLee, I've always known

how to stand my ground based on
who, who I am and where I'm from

and how my daddy
told me to handle it.

If you ever say
another word about me

or make another
indecent proposal,

I'm gonna get that gun of
mine and I'm gonna change you

from a rooster to a
hen with one shot!

[whimpers]

[DoraLee] Don't
think I can't do it.

[door bangs]

-Shit.
-Somebody was once talking

about doing comedy, they said,
if you are doing comedy,

if you're doing funny--
something that's funny,

you shouldn't think of yourself
as being funny while you're
doing it.

Oh, it's so fragile and elusive,
you know, the--

It's easier to make people cry,

but the thin line that brings
someone over the edge

to make them laugh is
really easy to miss.

It's very subtle.
Very, very subtle.

And, uh, Dabney Coleman,
who plays the boss,

and Lily Tomlin, their timing...

-[indistinct chatter] -...their
choices are, as any other actor

or director who knows comedy
will tell you, brilliant.

Oh, I'm sorry, Violet, why, why
don't you sit down. Sit down
over there!

I'm just getting ready to play
my last card.

I'm gonna send you
three bitches to jail.

Originally, the studio
wanted a movie star

in the boss's role.

Not a TV actor.

They're going
like, "Dabney who?"

At the time, culturally,

there were TV actors
and film actors,

and there was a huge
gulf in-between.

-Mr. Hart, if you'd only listen.
-You listen to me.

I'll see y'all in prison before
I'm through.

Steve Martin, Richard Dreyfuss,
and other names came up.

And we had kind of
an uphill battle

because it was a revelation to
a lot of people

that women could carry a movie.

And I kept saying to them,

"The women are the
star of this movie."

And we had to struggle
with the studio

to approve Dabney
Coleman in that role

and get the green light
to make the movie.

-[rattling]
-[indistinct chatter]

I was virtually the
only man in the movie.

-And it was thrilling.
-I'm gonna get loose.

[Dabney] I mean, I'm stepping
in there with three giants.

You start tangling with me,

you better be prepared
to play very rough.

So, how important
was Dabney Coleman

in the making of this movie or
in the success of this movie?

-Enormous.
-As you know,

the chairman of the board of
Consolidated Companies,

-working on consequent--
-[clattering]

Ooh! Oh, the pencils, yeah.

[chuckling] It's all
right. I'll get it.

[Bruce] Doing a Preston
Sturges type comedy

is extremely hard and
actually pull it off.

-Let me help you with those.
-No, that's okay.

[Bruce] Dabney plays a role

where he does absolutely
despicable things.

You know, you mean so much more
to me than just...

...a dumb secretary, so I--

[Bruce] And at

the same time,

you never
really hate him.

-You didn't have to do that.
-[Dabney] Well, it is a comedy

and comedies are tricky.

You never know what's
gonna work or not.

Mr. Hart, I've told you before,
I'm a married woman!

And I'm a married man, that's
what makes it so perfect.

-Oh, Mr. Hart. Oh!
-No. DoraLee, please.

But the trick of it, for
all comedy, in my opinion,

is do it straight, especially
when you're being bad.

-Oh, for heaven's sake!
-I need you--

What are you doing, Mr. Hart?

Call me, Frank.

Any amount of rottenness

that he wants to display

is perfect for this character,

because he has no redeeming
qualities at all.

He is a bad person. But
that's the fun of it.

-Oh! Whoa! No.
-Oh-- Did you hurt yourself?

Wha-- what are you
doing down here?

Anyone who would take,
uh, that seriously

and say, "Well, that is not what
all, uh, male bosses are like,"

-is missing the point.
-Dabney Coleman is not

all that different
from Mr. Hart!

He's a Texas boy for real.

[upbeat inspirational music]

But he's such a pro, though.

He knew all about
male chauvinists,

growing up there in Texas
with those good ole boys.

Mr. Hart, if you touch that
phone, I'm gonna jerk it

-clean out of the wall.
-[Dolly] And so,

we had a real good time

-on the set.
-Whoa.

-[grunts] I mean it.
-Oh!

I know you think
this is all a joke.

[Mr. Hart indistinctly mumbling]

[Bruce] I credit

Colin with giving us

the device of
kidnapping the boss.

That structure
gave us the ability

to put in the issues that
the feminist movement

and the 9to5 organization
wanted to see happen in real
life.

-Like equal pay,

-[typewriter clacking]

-Like equal pay,

like who gets promoted,
like maternity leave.

Not to mention,
sexual harassment.

[typewriter dings and clacks]

The movie really pointed
out a lot things,

a lot of issues that needed to
be dealt with.

And the fact that it was what
it was at that time,

you know, it's almost like
a protest movie of a sort.

[women chanting]

♪ Join us now! ♪

♪ Sisterhood is
powerful! Join us now! ♪

-♪ Sisterhood is powerful!

♪ -[Zoe] Second-wave

American feminism

started in the '60s alongside
the civil rights movement.

Women were saying, "I want
equity, I want parity,

I want equality, I want
equal rights under the law."

[reporter] "Join us now.
Sisterhood is powerful."

The battle cry of the
women's liberation movement,

to protest against all
kinds of discrimination,

which they say they suffer in
a world run largely by men.

[women chanting] ♪ Free our
sisters! Free ourselves! ♪

♪ Free our sisters!
Free ourselves ♪

-♪ Free our sisters! ♪
-[Zoe] We were on the upswing

of human right, and it was all
gonna turn out great.

We were on the road to right.

To morality and ethics
and civil rights.

[Rita] I thought that feminists
were extreme

and terribly embarrassing
and pushy and aggressive.

And I could not conceive of
myself ever saying publicly,

"I don't deserve this
terrible treatment."

I didn't think it was
terrible treatment.

I thought it was--
that was the norm.

[suspenseful music]

[Karen] By the late '70s,

there was a huge backlash
against the women's movement,

and "feminism" was a hot word.

The Equal Rights Amendment

will die 16 months from Tuesday.

[Karen] There were forces that
would take the language of
feminism,

and it was used as a weapon
against women's equality.

We wanted to sidestep that.

[melancholic music]

[Ellen] Many 9to5 members
would join the organization
saying,

"I'm not a feminist."

I don't understand what women's
lib is, anyway.

Women are becoming less women.

I wanna be a woman, I wanna be
treated like a woman and
feminine,

and the way we
always were treated.

"But I believe in fair pay, I
believe in women's equality."

Well, pay could be better, yes.

[Jane] In 9 to 5, we
were drilling down into the

issues.

We wanted to show how three
very different women came
together.

It's lookin' good. But if we're
gonna do this,

why don't we make changes
that really count?

There was a point at
which the women said,

"We're just gonna take over! We
can do it better. We're doing
it, anyway.

We're not given the credit or
the pay, but we're doing it.

This guy doesn't know what
the hell he's doing.

If it wasn't for Violet,
he'd run the thing

into the ground." And so,
they just took over.

-Hold it right there.
-[door opens]

My God, you're as
crazy as the other two.

Not that feminism means that
women have to take over,

but it means coming
into your own,

it means having agency.

The women began to feel they had
agency over their jobs,

their workplace,
and their lives.

[gentle music]

[Lily] I admired Jane.

I didn't think she was a radical
feminist by any means.

But I knew her pretty well

from her movies,

her earlier movies,

gossip sheets, and
movie magazines.

But she certainly was a,

a person of consciousness
and awareness.

[Bruce] Jane was, by this time,
a major movie star

when we were making

the movie 9 to 5.

And one of the things she had
developed as an actress

was the relationship between
the costumes and the actress,

being able to
develop a character

who's got a whole backstory.

Costumes are always very
important to an actor,

and Ann Roth is the
quintessential actor's
costumier.

[Ann] I had worked

with Jane on Klute

and Jane is the
consummate actor.

I was most interested
in making them

look like working girls
who punched a time clock.

Very normal. The kind of women

that you would see

in Life Magazine,

not Mademoiselle,
not Vogue.

-[Violet] Is that her?
-[man] Yes.

We're gonna need a special
locker for the hat.

[elevator dings]

You figure out each
one of those women,

where she comes from,
where she lives,

how much she spends
on her clothes.

And they should look real.

Although, of course, Dolly was
expected to be Dolly.

I will soitenly tell him, Roz.

[Bruce] Everything with the
costumes was to underscore

that these three very
different characters

would come across as
three smart girls,

and I think it paid
off in the film.

[young Dolly] But I love the
character that Jane played,

because oddly enough,

I saw in that character
a great deal of you,

of another side of Jane that,
that people don't see all the
time.

She's very outspoken as a rule,

and people think sometimes,
you know, even hard.

But there was this sweet,
gentle little girl side in Jane

that I think is, is
so sweet and loveable.

And that was one of the big
surprises, you know, in working
with, with her.

This particular trip I've spent
talking about boobs

and, uh, and how
I deal with Jane

-and what my folks think about
Jane... -[laughter]

...and what the south thinks
about me being friends with
Jane,

-but, you know, if we had
agreed to do it-- -[laughter]

-[cross talk]
-I can't believe it, can you?

[Dolly] You wouldn't
believe the things

they're asking me, honestly.

-[cross talk]
-I'm dumbfounded.

...she reappeared three ro--

Well, I'm just
saying, I, you know,

-and I've said, you
know-- -[laughter]

[Dolly] The three
of us were so

completely different,

-but we were so
connected. -Wait--

-I forgot my line.
-That's all right--

[Dolly] We really respected

and admired each other

for our own beliefs

and for our own
principles and values,

and it really showed on screen,

'cause we really
liked each other.

Like our characters,

we were, at that
time, very smart gals,

proud that we were accomplishing
all these things,

being strong women.

-How's Lily?
-[laughs]

-[beeps] -[Jane] Dolly, Lily,
and I

are kind of cool.

[chuckles] I don't know,

we're fun.

Wow. I thought I
have a V-8. [laughs]

[Jane] And so, when you get
the three of us together...

[laughter]

-...it's even funner.
-Wait. No. W-- wait.

-[laughing] -No, you're
hysterical. Now, stop it,
Violet.

-You're completely hysterical.
Calm down. -I can't help it.

-I really admire Dolly.
-Violet, honey? Could you--

-[laughter]
-[Jane] It's not just the things

that you know about
her, but she's got

a very deep side to her.

Very perceptive, very
smart, and playful.

-[laughter]
-[beeps]

Do-- what's green and smell like
Miss Piggy, Judy?

-[laughing] No!
-[laughter]

Kermit's finger. Look at that.

-[laughter and cross talk]
-[beeps]

When Jane and I first started
working with her,

it was just astonishing,
especially for Dabney.

Aw, that wasn't so bad, was it?

-[Lily] Because Dolly's
figure... -No.

...is out of the scale of human
proportions.

Jane and I would be turning, we
go, "Oh, Dolly! I'm so sorry."

Her head would be way back here.
And a couple times,

we did, like, have a
collision with Dolly.

Have you always been, um,

uh, you know, well-endowed?
I mean, even in school

were you like that?

Yeah, I couldn't
leave them home.

[crowd laughing]

♪ Workin' nine to five what
a way to make a livin' ♪

-♪ Barely gettin' by... ♪

-I said to Jane,

"Yes, I would love to do this
movie, under one condition.

I get to write the theme song
and sing it."

That was part of my deal.

And she said,
"Well, fair enough."

♪ ...nine to five ♪

[Nicholas] We were shooting
on the Fox lot,

and one day, I was
walking to the stage,

and it was Dolly's day off,
but Dolly had come to the set

and she was in the, uh,
teamster's car, she's in the
back seat,

and she had the window down and
she said, "Nicholas,

come over here, come over here!"
And I went, "Oh, hi, Dolly."

And I went over there, and
she had her guitar.

And she is, "Listen to
this. What do you think?"

-Yeah, I-- I'll start it now.
Yeah. -She wrote it pretty much.

-I mean, you guys, you guys--
-Perfectly, but we know--

Uh, yeah. Don't start
until I point a--

-an accusing finger, okay? So,
it goes-- -[throats clearing]

-♪ I'm... ♪ -♪ Workin' nine
to five what a way to make a
livin' ♪

♪ Barely gettin'
by it's all... ♪

[young Dolly] We recorded
this last week, and we had

all the secretaries
come on set,

and Jane and Lily come over,
and we did, like, a
sing-along.

♪ ...it's enough to drive
you crazy if you let it ♪

-♪ Nine to five for service
and devotion... ♪
-[laughing]

♪ Nine to five ♪

And she was clicking
with her fingernails

and everything. I
said, "What's that?"

And she said, "I just wrote
that for the film.

Do you think it's any good?"

I said, "I've only
heard 20 seconds,

but it's a hit, Dolly."

[fingernails clicking]

That's how she said
she wrote "9 to 5."

I'm not very good
at that either.

Just, "Do you think I should
play it for Jane and Colin?"

"Yes!" So, I think
I might've been

the first person to
ever hear that song.

[Lily] I said to Bruce
Gilbert and Jane,

"If this movie is not a big hit,
this song will be.

It will make us a hit."

[upbeat music]

[Bruce] 9 to 5 was

released in December of 1980.

Obviously, we were
not a Christmas movie.

So, there was certainly some
trepidation from the studio

about whether this would be
a very popular film.

And there were a lot
of other comedies

being released at
the exact same time.

I sentence you to 125 years.

[yelling] What? What?

[loud thuds]

Have you got the right case?

[Dolly] I'm sure that Jane was
really sweating it,

hoping that she was right,
hoping that it would do well,

but I just remember thinkin',
"This could go either way."

[camera shutters clicking]

[reporter] Another major movie
premiere here in Hollywood.

Tonight, it's 9 to 5,

the movie that's
starring Lily Tomlin,

Jane Fonda, and Dolly Parton,

who up until tonight has
been known as a singing star.

-She steals the movie. She's--
absolutely. -Does she--

She's absolutely wonderful.
She's a natural.

[Ellen] The movie also had it's
New York premiere,

and we were sitting
in the audience.

I remember Karen
squeezing my hand

and just-- we were
just so thrilled.

[Karen] We knew that we
couldn't do this on our own.

And the glamour of Hollywood!

Jane Fonda, Dolly Parton, and
Lily Tomlin had our backs now.

-You look great tonight. How
does one go about choosing...
-Oh, thank you!

...uh, what she wears to
her movie premiere?

Well, one just has
to have somebody

make a couple of things a-- and
pick from 'em.

And Ann Roth did this dress,
and I love white.

[Lilly] We all went to see
it, and we were just floored

with how accurate even
the comedy parts were.

[Ellen] Jane was asked,
"Are you lighting a fire

under the desks in the
offices of America?"

And she said, "No.
Secretaries are lighting those
fires,

and we are just
fanning the flames."

[young Jane] We've shown it to a
lot of audiences and they just
roar.

And men love it just
as much as women.

I think it's gonna...

-...it's gonna make a lot of
people very happy. -[laughter]

[Roger] Unfortunately, this is
a comedy that's kind of dumb,

where the three secretaries in
a giant corporation,

and they are, of
course, the victims

of rampaging corporate male
chauvinist piggism.

-[chuckles] -But, uh, when it
doesn't get on its high horse

and isn't trying to hit us
over the head with its message,

the movie's great fun to watch.

[upbeat rock music]

[Bruce] 9 to 5 was the second
highest-grossing film,

only coming in behind one of
the Star Wars films.

And some critics had a
problem with the movie,

but the important
thing is that 9 to 5

became popular all
over the world.

And 40 years later,
it's a classic film.

As very earnest activists,

we sometimes had a problem
with the comedy.

[upbeat suspenseful
music playing]

-[shakily] Hi? -It was not
some... [sighs] po-faced

feminist bangin' on.

It was a group of
brilliant actors

being funny and succeeding.

I remember seeing the film
and going, "Oh, my goodness!

I don't believe it.
They've done it."

[Zoe] I'm hoping that the
women went to work that day

and fantasized, "Now, I
wonder if we could get that

attached to the ceiling."

You know, you just don't know
what silliness

they might've been
inspired to do,

but they were emboldened...

-[dings]
-[Mr. Hart screaming]

...because it was on screen
and it was fun.

DoraLee! [indistinctly mumbles]

[Lily] When we were
promoting the film,

we were, uh, counseled by some
media person.

And he told us that we should
emphasize that it's a comedy.

The movie 9 to 5 is

a message movie, uh,

a little heavy-handed,
in my estimation.

-Do ya think so? -Yeah, and I'm
a very active feminist.

-Uh-- -Oh.

They must have known how certain
issues, uh, might be perceived.

[mimicking woman] Phoenicia,

last night, I saw 9 to 5,

and let me tell you, it opened
my eyes to new horizons.

I've taken enough
gaffe and enough crud

around this place
for long enough.

I've been a-- [stutters]
I've been a retiring person,

I've tried to please everyone.
I've had a pleasant personality

under t-- under the
duress of it all,

but believe me, things
are gonna change,

and I'm gonna give the old
boss's plug a yank.

[Rita] The film was giving
permission to women,

who maybe were still reticent,
like myself.

"Don't put with that."

And a lot of women in America

loved that message.

[gentle music]

[upbeat music playing]

[reporter] And the
fabulous Dolly Parton,

nominated in the
Best Song category

for her composition,
"9 to 5."

♪ Nine to five ♪

[Dolly] I was
nominated for an Oscar

for Best Song, and
that was a great honor.

I'd been hoping and praying that
the song would be a hit and it
was.

-♪ ...want to move ahead...
♪ -And the music video

was very popular.

-♪ ...to let me... ♪

-[Karen] "9 to 5" became an

anthem

for the women's movement. So
she captured the individual

trying to live her
life to the fullest.

♪ They let you dream just
to watch you shatter ♪

-♪ You're just a step...

♪ -[Karen] "You're just a

step

on the bossman's ladder."

And then, it's a
collective response

when we realize that
we're in the same boat,

-that's where we get our

power. -[indistinct chatter]

Anyone who is turned off by a
movie like this is possibly,

uh, a little hung up somewhere,

unless they could possibly
not-- uh, like the movie.

But if you are talking
about what I think you are,

which is a, a chauvinistic type

-of, uh, anti-ERA...
-[woman] Mm-hmm.

...or anti-feminist, uh, uh,
uh, philosophy,

if you are talking about that,
then I think that, uh,

they may be a little hung up.

[Zoe] Just imagine
all these secretaries

going to this movie together!

Maybe movies were
$2 at the time.

And the secretaries, they are
the ones moving the office.

They are the ones
taking the calls.

They are the ones making
Mr. Hart look smart...

-What? When?
-...when, in fact, he's a fool.

-[sharp rustling]
-Holy shit.

Uh-- no, no! No, no problem.

[Zoe] So, that's

the breakout.

That's the wonder
of this movie.

Holy shit. There he is.
[chuckles nervously]

[shakily] It's really emotional.

-[indistinct shouting]

-The movie 9 to 5,

coming out when it did,

perfectly synced with the
Equal Rights Amendment.

Many women now joining,
who worked in offices,

were inspired
by the film.

So, remember, men, if
you come to work tomorrow

and your secretary refuses to
do the filing,

and then go home and
find that your wife

has refused to do the cooking,
don't blame them.

Remember, you gave them
the vote 50 years ago.

This is Mike Scott, male
chauvinist. TV9, Eyewitness
News.

[light dramatic music]

[Zoe] Equal
Rights Amendment

was written in
1923 by Alice Paul.

-She was a Republican.

-[man] The Equal Rights

Amendment...

[Zoe] The ERA was
an amendment to say,

"You cannot discriminate between
men and women

when it comes to things that are
ruled by the law."

It seemed obvious.

In almost every
Congress since 1923,

there's been proposed
a constitutional amendment

to guarantee equal
rights for women.

Well, today, it
finally won approval.

Proclaiming once and for all
that women have

all the same rights
as that other sex.

[Zoe] So, in 1971,

there were hearings in Congress.

In 1972, it went out to the
states for ratification,

and the requirement
was three fifths,

which would've been 38 states.

And they were given a deadline.

Virginia is the only
unratified state

with elections this year.

When you vote next Tuesday,
you are not voting

for yourselves only,

you are voting for all of us.

-[crowd cheering and clapping]
-The whole country

is looking to
Virginia for a sign,

a sign that the ERA can win.

The Equal Rights
Amendment will put women

where they've never been before.

In the constitution of the
United States of America.

[clapping and cheering increase]

For more than four years,
no state has ratified

The Equal Rights Amendment. Now,
there's just a year left

to get the three more states

needed to reach the 38 required
for ratification,

or the amendment will die.

[dramatic music]

[woman] Are you still working

actively for ERA?

Are you making speeches
on behalf of ERA?

Uh, I'm part of an organization
in California

that works primarily
on economic issues,

and that would certainly include
the Equal Rights Amendment,

but we deal, uh, essentially

with, um, the problems of
inflation and unemployment.

-[woman] Mm-hmm.
-Economic issues.

We ask that you would give us
your divine wisdom.

[reporter] Opposing both the

state and the federal

amendment

are women like these,
members of STOP ERA.

According to them, the
ERA is anti-family,

anti-God, a
government intrusion

that will remove the
legal protections

that have shaped women's
lives for centuries.

[Sonia] This society has
said to us, and said to me,

"Being a wife and a mother

is the most important
thing you can do."

And then, when we
do it for 20 years,

and my husband walks out,

decides he's not
gonna pay anything,

and certainly not enough to
support the children,

what do I find out this
society is gonna do for me?

Nothing. I have no
hospitalization,

I have no pension, I have no
social security,

I have nothing at all.

[Phyllis] Aren't we lucky that
we don't have the Equal Rights
Amendment?

Else that would have to apply to
women in the draft

and in combat and in everything
to do with the military

since the military is all
a matter of federal law.

-I ask you to... -STOP ERA is a
front for great corporations

who wou-- to whom it
would be devastating

if women had even equal pay
for equal work in this country.

-The insurance company-- -But,
but people from STOP ERA will
say,

"But women are
already protected."

-Well, uh-- -As far as equal pay
is concerned.

Oh, that's just nonsense.

-[young Jane] I was recently
down in Roanoke Rapids... -[man]
Mm.

...North Carolina, visiting
some of the workers there,

and they can't afford
to go to movies.

Not only 'cause the ticket
prices are so high,

-but, you know, babysitters,
transportation... -[man] Yes.

...parking, all that. And
those are the kind of people

that I'd also like
to, to be working for.

That is true. Uh, there's still
a percentage of people who don't
get out

-to the movie theaters. -Yeah.
Uh, I wanna go into television.

I guess my main
motivation is to--

is to try to reach large
numbers of people.

-[alarm ringing]
-["9 to 5" by Dolly Parton]

[Bruce] After 9 to 5 came

out and it was so successful,

20th Century Fox Television
wanted a TV show spinoff of the
movie,

and we were very
open to that idea.

So, Jane and I became
executive producers.

[young Jane] Because they're
women, they're at the bottom of
the ladder.

They're rarely promoted. Uh,
they're discriminated against

in many different ways. And
they've always been ignored

by the traditional
labor movement.

"You know, these broads,
you can't organize them."

Well, they're
organizing themselves.

And hopefully, with the movie
and with the television series,

-we'll give it a boost!
-Oh, the nerve of that man,

-threatening me--
-[Carol] We got a call

from Jane Fonda and she said,

"You know, we would like
someone from the organization

to come out and work with us on
the TV series."

To kind of make sure that the TV
show stayed true

to the principles that the
film had been so great about.

Now, who here knows how to type?

[crowd laughing]

Uh, excuse me?

Could you direct me
to Mr. Hart's office?

-Thank you.
-[Ellen] As the TV show went on,

it strayed from the message of
our organization.

A lot of times, I noticed that
you would be siding with the
boss.

"Oh, poor boss has to put up

with such a silly creature as
the secretary."

[indistinct singing]

The television executives,

who all had their opinions,

and there were several...

Just one of the boys.

...and then you had
these executives

from the network,
much more meddling.

That was a shock to me.

-Call me stupid, I don't know
where this goes. -[crowd
laughing]

[Bruce] It became obvious
that we were not capturing

the movie 9 to 5.

the flavor of

the movie 9 to 5.

It was, uh, a--

just a tremendous burden on me,
psychologically.

Okay, party's over. Don't you
girls have anything to do?

[Jane] I wasn't very involved...

...in that... part of it.

And I, I... I don't know
if it would've worked more

if I had been, I don't know.

Jane and I decided to take
our names off of the show,

because it no longer
reflected our input.

[light suspenseful music]

So, we advance... [chuckles]
and we go back,

and we advance, and we go back.

The deadline for the ERA

had been extended
to June 30th, 1982.

[reporter 1] Local
ERA supporters

say they will key their efforts
in Illinois,

Florida, Mississippi,
and North Carolina,

four states they
feel can be persuaded

to ratify the amendment, or
the proposal will die.

ERA will not pass
in this century.

[indistinct shouting] ...ERA!

[Zoe] So, we backed it up

and we started fasting 40 days

before that deadline.

[reporter 2] Seven

women have fasted now

for 22 days. Women who
chained themselves together,

blocking the Senate,
were removed.

[reporter 3] One of the
fasters, Sonia Johnson,

is now using a wheelchair,
because she feels so weak.

But all of the women say
there are no plans to stop
now.

[Zoe] We fasted only on water.

And had the time of our lives.

ERA supporters conceded
defeat this week,

falling three states short
of the 38 needed to ratify.

Opponents to the amendment are
celebrating tonight.

-[ethereal music]

-♪ ...America...♪

[crowd clapping and cheering]

[Zoe] Of course, I was
willing to die for the ERA.

Of course, I'm willing to die
for equality.

Of course, that's
what activists do.

[dramatic music]

Hey, we have a two o'clock
campus tour you can take.

[Karen] Ultimately, at the end
of the 1980s,

corporate America
decided, "Actually,

they're gonna have to let
women in on the game,"

and began to let
women in as managers

and supervisors
and professionals

in numbers that we've
never seen before.

[indistinct chatter]

[dramatic music]

[reporter 1] Shocking charges
of sexual harassment.

The judge pleads
"not guilty."

Someone's lying under
oath, under the dome.

I have not said
or done the things

that Anita Hill has alleged.

After a brief
discussion of work,

he would turn the conversation

to a discussion
of sexual matters.

His conversations
were very vivid.

[Karen] Suddenly, sexual
harassment emerged as a popular
issue.

These kinds of experiences

were taking place
across the country,

and so, women were
beginning to realize

that it's about power
in the workplace,

then it was kind of just part of
this whole morass of indignities

that women were just beginning
to sort through.

[crowd clapping and cheering]

[reporter 2] A year since
the Hill Thomas hearings,

women candidates running
for the Senate this year

in unprecedented numbers.

[reporter 3] Carol Moseley

Braun added to gains

made in what's being called,
"The Year of the Woman."

[woman] Walking up those steps

to the United States Senate,

knocking on the
door, and it opens,

and we all come inside,
all of us, together!

[Fatima] And it was Anita Hill.

And the outrage that drove more
women to Congress.

And now, they're fighting
for change at a policy level,

including equal
pay and fair wages.

[indistinct chatter]

[Lilly] I went to work
February 5th, 1979,

for Goodyear Tire & Rubber in
Gadsden, Alabama.

It was the same year the 9
to 5 movie was being made.

And later on, I became
my area manager,

and some of the men resented me.

They said, um, "We've never
taken orders from a woman."

They made my job
really difficult

and there were several times
I was concerned for my life.

[light ominous music]

But I'd think back
about the movie.

Well, I say we hire a couple of
wranglers to go upstairs and
beat the shit out of him.

[Lilly] And Jane and Dolly
and Lily encouraged me.

In the 19 years that I worked at
Goodyear as a supervisor,

no one ever discussed their pay.

I started suspecting

I was not getting what the men
were getting.

We four supervisors had
the exact same job,

just a different shift.

And their pay was
almost $6000 a month,

and that's base pay,

and mine was just a
little over three.

[Zoe] Imagine, after
working 20 years,

that she found out that this man
is doing the same job as she
did,

was getting paid two times more,

which affected his
social security,

which affected his, his pension,

which affected his
ability to retire.

[Lilly] My daughter and son
were still going to college,

and I had a mortgage to pay,
and I had to pay my bills.

[reporter 1] Ledbetter sued,
but the US Supreme Court threw

out her case,

saying she filed her
lawsuit too late.

[Lilly] Those five justices,

they didn't only rule against
Lilly Ledbetter,

they ruled against every family
across this nation.

[Fatima] So, in 2009, we
saw a huge change happen.

It was a mix of law and policy
change that was happening,

because in 2007, when the
Supreme Court got it wrong,

Justice Ginsburg wrote
a powerful dissent

that eventually changed the law.

First of all, it is fitting

that the very first
bill that I sign...

...the Lilly Ledbetter
Fair Pay Restoration Act.

[crowd clapping and cheering]

Equal pay is by no means

just a women's issue.

It's a family issue.

[reporter 2] But Ledbetter

herself will never see a

dime

of the $200,000 in
lost salary she claims.

[woman] You lost your case,
but what did you win?

Something that money
could never buy.

♪ Workin' nine to five what
a way to make a livin' ♪

♪ Barely gettin' by ♪

[Dolly] I've always been saying,
"I don't chew my tobacco but
once,"

or some corny thing like that.
Meaning, "I don't like to go
back and do something again."

[crowd singing and clapping]

You know that better than me!

[Bob] There's a big trend in
the theater business,

taking successful movies and
turning them into musicals.

♪ Nine to five what a
way to make a livin'... ♪

The movie felt so dated
that it was kind of like,

"Why are we doing a revival
of this very dated movie?"

And then, realized that,

"We're not so far
off from this movie,

these things are
still going on."

[Joe] I was thinking of the
message of the film and the
musical.

We were looking at it as a time

in our history
that we were past.

-In my memo-- -Did you hear what
I said? Fire the bitch.

And that's just not the case.

So, you need to
keep telling people,

"This is where we've come from.
This is where we've been. And
this is where we're at."

[woman] Are you surprised that
it's had this kind of-- you
know,

we're talking about 29 years,
this kind of response from all
generations.

-Well, I'm not-- I'm not really
surprised. No-- -No, no.

It's iconic. And partly, it's
because the issues,

the things that it speaks to are
universal and still very much
alive.

It's women emancipation.

Secondly, it's about women
wanting to kill their boss.

And third of all, I
know that everybody

in my company wants to kill me,

and they bought
multiple tickets.

I think if this, this
movie could survive,

this show could survive on just
my company.

[tense music playing]

[woman] Later, Harvey
Weinstein was accused

by several women of
sexual harassment,

energizing the
MeToo movement,

which quickly spread
around the world.

[indistinct shouting]

[women shouting] No
means no! No means no!

When MeToo went viral, it was if
the earth shook.

-[crowd] MeToo.
MeToo-- -[woman] MeToo!

[women shouting] TimesUp!

[women chanting in French]

[chanting in Spanish]

[loud clanking and banging]

[women chanting] ♪ Stop the
violence! Stop the rape! ♪

♪ Rise up for the
women of the world! ♪

♪ For the women of
the world rise up! ♪

[Tarana] What we
represent by gathering

and marching in the streets
is a living breathing reminder

that we are human
beings, not hashtags!

-[crowd cheering and clapping]
-[Ellen] Some people might be
surprised

by MeToo, TimesUp,

and the whole issue
of sexual harassment.

These are new slogans, but
they're not new issues.

[Jane] Now, women who speak
up about assault

and sexual harassment are taken
more seriously.

Um, I think people are realizing
that it's epidemic.

Of course, it's rampant.

It's very-- but the
men are acculturated

by whatever forces
are near them.

Their fathers, their brothers,
their uncles,

kids at school, just
their own natural,

uh, a-- absorbing the-- the, uh,

whatever the entertainment puts
out-- Cartoons!

Now, I'm gonna
grab me some sweet.

No, Mr. Simpson, that's
sexual harassment!

If you keep it up, I'll yell so
loud, the whole country will
hear!

[laughing] With the man in
the White House... [laughs]

...not likely. [laughs]

I hope it's not a
real cultural shift,

that men feel like they don't
know how to behave around women.

You know, it's not hard. Like,
just don't be a jerk.

-Violet-- -[Amaya] Keep
your hands to yourself.

No one else is
your property.

-Damn pretty too, if I might
add. -Thank you, sir.

You should see some of
the crones that have been

coming through here
lately, real pathetic.

[Amaya] Like the

boss in 9 to 5,

nobody thinks your inappropriate
jokes are funny.

I mean, a lot of it is just
being an adult, right? [laughs]

[Dolly] When the MeToo movement
started, I think it really
helped a lot.

It's given us a really
good opportunity

to make more, uh, corrections

and to just do more good things
for, for women especially,

'cause really, it's not a matter
of politics,

it's just downright fairness.

[Vanessa] It doesn't matter what
industry you're in,

it doesn't matter what
department you work for,

I know that we've held workshops
in the past

where assistants find out
that peers of theirs

are actually making double or
triple the money.

Here he is, with nowhere near
the years of experience,

no degree, and you're gonna
offer him $12,000 more.

An employee got upset because
we didn't get a bonus.

And so, he literally said
everybody's salary

in front of everybody.
And I found out,

not only was I the
lowest paid person,

but I was making
almost $17,000 less

than the lowest paid
person on my team,

with the highest stats,

the highest customer retention,
all of that.

Humanity still has
a long way to go

in the fight for
gender equality.

This is according
to a new report

from the World Economic Forum.

It will take more than 200 years

to close the gender pay gap at
our current pays worldwide.

[Miranda] In America, Black
women are 61 cents to the dollar

in comparison to white male and
their counterparts.

So, we're still far behind
on that, on that pay grade.

[Yanira] For Latinas,
it's 54 cents

compared to a
non-Hispanic white man.

You might be a PhD,

and you will make
less as a Latina,

not only compared to white men,
but also white women.

[Tara] In the

United States today,

never mind when 9 to 5

was made, if someone like

Violet,

a single mother, was
working full-time

at the Federal minimum wage,

which it's still
$7.25 an hour...

Violet News-- Oh, come on kids!
No-- come on, no fighting!

...she would earn
about $14,500 a year.

And she would be expected to,
um, pull up her bootstraps

and somehow feed four children
and pay for a car

and pay for clothes
to go to work.

Back then, getting a promotion
was a pipe dream.

We've got to do something. He
just can't treat people like
that.

[scoffs] "Do."
What's to do? Quit?

-Well, I can't quit.
-It's the same all over, anyway.

Well, look, couldn't we just all
get together and, and complain?

-[laughs] Complain to who?
-Let's face it,

we're in a pink-collar ghetto.
Let's have another drink.

[Jane] It's worse today than it
was when we made 9 to 5,

because now, most of those women

would be hired by a contracting
company and subcontracted.

They may never see the boss.

Where do you go to complain when
you're part of the gig economy?

Never mind having union jobs.

[light melancholic music]

What the movie showed was

there was a systemic issue.

Did you get my memo?

I did, Roz. I tore
right through it.

Good! You know, we must, uh,
clamp down hard

on any signs of unionization.

[Jane] The whole notion
of promotions and benefits

and being respected for your
work is a thing of the past.

We see that 9 to 5

was ahead of the game

with the idea of flexible hours,

trying to work part-time

or trying to work
around their mothering.

What the hell is going on?
Who authorized all this?

You did, Mr. Hart. It's, uh,
your signature.

[Arianna] Once they have
children and leave the
workplace,

three quarters of women return,

but only 40% are
returning full-time.

The primary responsibility
going to women, largely.

If a culture is
fueled by burnout,

women are going to pay
a disproportionate price.

[reporter 1] The current health
crisis is impacting

the working women more than men,

and there are a
number of reasons why.

During this pandemic,
many parents,

especially moms,
have been working

and helping their kids with
schoolwork at home.

One in three mothers may be
forced to scale back

or opt out of the workforce.

[Karen] So, childcare,

maternity leave,

health insurance,
paid sick time,

all of those things,

you saw in 9 to 5.

So, you pulled it
off, Frank, huh?

Well, I, I like to
think we did, anyway.

-[laughter]
-Good. Like the day-care center.

Center-- day-care center?

[Karen] All of those things,

women are still fighting for.

And we have to be
clear-eyed about that.

Those issues, which
were at the center

of the 9 to 5 movie,

are not resolved.

[Violet] We transformed, but
the cost was minimal.

It's cut down on absenteeism

and we had a wonderful
time doing it.

Well, Frank, I gotta
give you credit.

-You really pulled it off here.
-[chuckles]

And, uh, that equal pay thing,
though, that's, uh, that's got
to go. Hmm?

-Oh, yes. -Oh, yeah, it's all
right as an incentive,

but, uh, we don't need to
keep on priming the pump.

We need to be
talking about money.

We need to say it out loud.

And spreading the message
of women knowing their worth

and asking for
what they're worth.

[crowd cheering, clapping, and
chanting] ...pay! Equal pay!

How long have I been
chanting "equal pay"?

[reporter 2] They rolled down
Broadway, down the stretch

known as the
Canyon of Heroes,

brandishing what they'd been
sent to France to retrieve,

the World Cup Trophy.

[all shouting] Equal
pay! Equal pay!

[Zoe] I am

hoping that it is

through those ground-breaking
women in sports,

in the arts, in
politics and activism...

Marching to the front lines as
we often do.

...in all the
visible places,

we're gonna finally have
equality for women

in the Constitution
of the United States.

[Fatima] In order to
ratify any amendment,

we not only need
Congress to act,

you also need
states to act.

[Lily] I came to Virginia

because your
elections next Tuesday

transcend the borders
of your state.

[crowd clapping and cheering]

[gentle music]

[Fatima] And you need 38 states.

Over the years, we
have gotten to 37.

We are one state away.

[Patricia] Did the Civil
Rights Act eliminate prejudice?

No, of course not. And has it
made an equal playing field? No.

But at least it gives you some
laws that help protect you.

♪ ...dreams have wings ♪

[Zoe] If you ask eight graders
across the country,

"Are you in the constitution?"
They would all say, "Yes."

And then, I have
to tell the girls,

"I have some very
bad news for you.

-No, you're not." -♪ ...yeah,
dreams have... ♪

All those in favor say, "Aye."

[crowd] Aye.

[cheering and clapping]

[gentle music]

9 to 5 changed my life,

and I can say beyond a doubt

that it changed
the office, bosses,

and the whole atmosphere
of office work.

[Bruce] I'm under no illusion
that any single film

can change the culture.

There are just so many factors

that effect change.

As filmmakers, we just
try to do our part.

I recognized the value
of being a woman,

because it was
lauded in the film.

[Amaya] Regardless of age,
regardless of race,

regardless of orientation,

having solidarity in
the women's movement

is really what's
gonna push us forward.

[Dame Jenni] It's young women
respecting older women

and older women
giving them a leg up.

[music continues]

[Yanira] I can tell you
that it's gonna be a fight,

but I can also tell you that
it's gonna be a good fight,

because it's gonna
be with your sisters,

with people who understand
you and want the same goals.

And ultimately,
you'll get there.

[Karen] Unless we're able to
truly understand what we're up
against

and build the power we need to
win against that,

then we'll be engaged in 40

and 50-year struggles
like we are today.

[dramatic music]

And the more women we get into
positions of power,

the more that that
will dissipate.

While I may be the first woman
in this office,

I will not be the last.

[crowd cheering and clapping]

Because every little
girl watching tonight

sees that this is a country of
possibilities.

And to the children
of our country,

regardless of your gender,

our country has sent
you a clear message.

Dream with ambition.

[cheering continues]

There's something very exciting
and dynamic

in this moment,
which is why now,

making change in the world

has to reach down the
generational line.

It's so important that
people who've been, you know,

suffering because of injustice

realize that they're seen.

[Lily] As women, we
need to still fight.

...the earth! Rights
for the trees!

We've got so much more to do.

How can anybody ever do enough?

No matter what you're doing,
is never gonna be enough.

My Lord, it's 40 years now.

Those fairy godmothers
accomplished a lot,

but we've got a long way to go.

Just like DoraLee and Violet and
Judy in the film.

-[cork pops]
-[laughter]

And Tinsworthy
loved what we did!

Yeah, everything, except
that part about the money.

What are we gonna do about that?

Hey, we've come this
far, haven't we?

This is just the beginning.

And here's to the beginning!

-[laughs]
-I'll drink to that.

-To the beginning.
-Yay.

["9 to 5 (FROM THE STILL
WORKING 9 TO 5 DOCUMENTARY)"

by Kelly Clarkson
& Dolly Parton]

♪ Nine to five ♪

♪ Tumble out of bed and I
stumble to the kitchen ♪

♪ Pour myself a
cup of ambition ♪

♪ And yawn and stretch
and try to come to life ♪

♪ Jump in the shower and
the blood starts pumpin' ♪

♪ Out on the street the
traffic is jumpin' ♪

♪ With folks like me on
the job from nine to five ♪

-♪ Mm, yeah, nine to five

♪ -♪ Workin' nine to five

♪

♪ What a way to
make a livin' ♪

-♪ Barely gettin' by ♪
-♪ Gettin' by ♪

♪ It's all takin'
and no givin' ♪

-♪ They just use your mind

♪ -♪ They just use your

mind ♪

♪ And they never
give you credit ♪

♪ It's enough to drive
you crazy if you let it ♪

-♪ If you let it, nine to
five ♪ -♪ Workin' nine to
five ♪

♪ For service
and devotion ♪

-♪ You would think that I

♪ -♪ You would think that

I ♪

♪ Would deserve a
fair promotion ♪

-♪ Want to move ahead ♪

-♪ Move ahead ♪

♪ But the boss won't
seem to let me ♪

♪ I swear sometimes that
man is out to get me ♪

♪ He's out to get me! ♪

-♪ Nine to five ♪
-♪ Nine to five ♪

♪ Nine to five ♪

-♪ Workin', workin', workin'
♪ -♪ Nine to five ♪

♪ Nine to five they
let you dream ♪

♪ Just to watch 'em shatter
you're just a step ♪

-♪ On the bossman's ladder

♪ -♪ But you've got

dreams ♪

-♪ He'll never take away

♪ -♪ He'll never take 'em

away ♪

♪ You're in the same boat
with a lot of your friends ♪

♪ Waitin' for the day
your ship'll come in ♪

-♪ And when the tide's gonna
turn and it's all ♪ -♪ Mm ♪

-♪ Gonna roll your way ♪
-♪ I just know it ♪

-♪ Workin' nine to five ♪
-♪ Nine to five ♪

♪ What a way to
make a livin' ♪

-♪ Barely gettin' by ♪
-♪ Gettin' by ♪

♪ It's all takin'
and no givin' ♪

-♪ They just use your mind

♪ -♪ They just use your

mind ♪

♪ And they never
give you credit ♪

♪ It's enough to drive
you crazy if you let it ♪

-♪ But you won't let it ♪
-♪ Workin' nine to five ♪

♪ Yeah, they got you
where they want you ♪

-♪ There's a better life

♪ -♪ There's a better

life ♪

-♪ And you dream about it

don't you ♪ -♪ You dream

♪

-♪ About it, rich man's game
♪ -♪ It's a rich man's

game ♪

♪ No matter what
they call it ♪

♪ And you spend your
life puttin' money ♪

-♪ In his wallet ♪ -♪

Puttin' money in his wallet

♪

-♪ Workin' nine to five ♪
-♪ Nine to five ♪

♪ What a way to
make a livin' ♪

-♪ Barely gettin' by ♪
-♪ Gettin' by ♪

♪ It's all takin'
and no givin' ♪

-♪ They just use your mind

♪ -♪ They just use your

mind ♪

♪ And they never
give you credit ♪

♪ It's enough to drive
you crazy if you let it ♪

♪ Crazy if you let it ♪

-♪ Workin' nine to five ♪
-♪ Nine to five, ooh ♪

-♪ Workin' nine to five ♪
-♪ Nine to five ♪

rich man's game ♪

-♪ Will-- ♪ -♪ It's a

rich man's game ♪

♪ No matter what
they call it ♪

♪ And you spend your
life puttin' money ♪

-♪ In his wallet ♪ -♪

Puttin' money in his wallet

♪

-♪ Nine to five ♪
-♪ Nine to five ♪

♪ Just workin'
workin', workin' ♪

♪ Nine to five ♪

♪ Just workin'
workin', workin' ♪

-♪ Nine to five ♪
-♪ Nine to five ♪

♪ And you think
about it don't you ♪

♪ Nine to five ♪

♪ Yeah, you think
about it don't you ♪

-♪ Nine to five ♪
-♪ Nine to five ♪