20. DAYLIGHT DAY OF REST, FULL DAY OFF AND OTHER REST PERIODS.(A)Definitions:(1) A Daylight Day of Rest means there may be no rehearsal, travel, orperformance from the end of work on one day until 6:00 PM of thefollowing day.(2) A Full Day Off, applicable only where specified, means there maybe no travel, rehearsal, or performance for 24 consecutive hours inaddition to the normal rest period required after a day of rehearsal <strong>and</strong>/orperformance.(3) A Golden Day, which applies only after opening, is a day free fromtravel, rehearsal, or performance. No rehearsal may be called on the dayfollowing a Golden Day prior to the performance, except the Company canbe called for sound check.(4) A Travel Day of Rest is a day were there may be no rehearsal orperformance, but travel to the next location is permitted(B) During Rehearsals. Prior to the first paid public performance the <strong>Actors</strong>hall be entitled to one Full Day Off with salary in each seven days of rehearsal,except for the last seven days immediately prior to said first paid publicperformance of the production when a Daylight Day of Rest will be permitted.(1) In a rehearsal period of six days or less (for which a full week’ssalary is paid) no Daylight Day of Rest shall be required.(2) If the rehearsal period is more than seven days but no more than11 days, only a Daylight Day of Rest shall be required during suchrehearsal period. However, if the rehearsal period is 12 days, theProducer’s shall schedule either two Daylight Days of Rest or one Full DayOff during the rehearsal period.(3) Outdoor theatres that perform seven shows in seven days, mayschedule the permissible five-hour rehearsal block prior to 6:00 PM, forwhich a 2/3rds vote of the <strong>Actors</strong> is required. (See also Rule 51(A)(<strong>10</strong>)Rehearsals.)(4) During the rehearsal period, a Travel Day of Rest is permitted onlyif rehearsal takes place in New York, Chicago, or Los Angeles, the travelis for the purpose of moving to the opening city, <strong>and</strong> it is the first move forthe majority of the cast.(C) During Performance Weeks. A Full Day Off or a Travel Day of Rest isrequired in each week at any theatre with a performance schedule of eightperformances (or fewer) in six days.(1) Except in theatres where seven evening performances arecustomary, a production which runs for two weeks or more at a single26
theatre, shall have one Full Day Off in each week, except for the openingweek during which the 6:00 PM Daylight Day of Rest rule shall apply.(2) During a <strong>Unit</strong> Tour, the Producer shall schedule the equivalent oftwo days, to be called “Golden Days”, free from rehearsal, performance<strong>and</strong> travel in every 28 days commencing with the first paid publicperformance of the tour. These two free days may be scheduled withoutrestriction except that they shall not be in the same workweek. TheProducer may travel the Actor on the required “Golden Day” uponpayment to the Actor of no less than $75 for each such day traveled. Thebus call for travel following a “Golden Day” may not be prior to 6:00 AM. Aplane flight on the day following a “Golden Day” may be scheduled prior to8:00 AM. (See also Rule 64(B) Transportation.) For said <strong>Unit</strong> Tour, afterthe first paid public performance, there shall be no rehearsal on the dayfollowing a Full Day Off except in cases of an emergency, a “Put-In”, (asper Rule 51(G)(2)) or for stage fighting. The weekly Day of Rest may bechanged with one week’s notice, which shall be posted on the Callboard.(3) There shall be a 12-hour rest period between the end ofemployment on one day <strong>and</strong> the beginning of employment on the nextday. This 12-hour rest period may be reduced to 11 hours by a 2/3 rd secretvote of the Company, including Stage Managers.In theatres where seven evening performances are customary, this restperiod may be reduced to <strong>10</strong> hours after a dress rehearsal that follows anevening performance.(For breaks <strong>and</strong> rest periods during rehearsals or performances, see Rule51 REHEARSALS or Rule 44 PERFORMANCES.)21. DEFAULTING PRODUCERS.Any Producer engaging any Actor represents that such Producer is not in default underany agreement with Equity at the time of such engagement, <strong>and</strong> that no contract hasbeen entered into between said Producer <strong>and</strong> Equity or any Actor, any breach of whichremains unsettled or unliquidated.No Actor shall work or be required by any Producer, without the consent of Equity, towork for any person, co-partnerships, corporation, enterprise, or group which has failedto abide by any arbitration award or, where permitted herein, any final determination ofthe Council of Equity, or which, through failure to meet past obligations to Equity or itsmembers, has been placed on Equity’s Defaulting Producers’ list; nor shall any Actorwork for or be employed by anyone who is or has been connected, either as anindividual proprietor, general partner, associate producer, corporate director or officer,or active stockholder with any defaulting management so specified, without consent ofEquity.Should a Producer remain in default of salaries or other monies due an Actor or <strong>Actors</strong>for a period longer than one year, the Producer agrees that Five Percent (5%) interest,compounded annually, beginning one year after the default <strong>and</strong> ending when the claimis paid, shall be added to <strong>and</strong> payable as part of said claim. If an Actor is adjudged by27