The Jazz Singer Page #11

He continues talking about his work. The old man's eyes assume a steely

glitter. Jack continues talking glibly.

238.CLOSE-UP FATHER

He glares at Jack. Finally he holds up a hand for silence, then snaps

out:

TITLE 85:
"So you sing your dirty songs in theayters now!

First on the sidewalks, then beer halls and now

theayters."

239.CLOSE-UP GROUP

Sara tries to stop the old man. Jack, surprised at this new attack,

tries to defend himself. The old man doesn't want to listen. Finally

Jack, aroused now to the fact that he must fight to get the respect of

his father, demands that his father listen to him. He grasps his

father's hand. The old man stares at him in surprise. He starts to

protest and Jack silences him.

240.CLOSE-UP JACK

He leans forward as he says, earnestly:

TITLE 86:
"You taught me to sing -- and you told me that

music was the voice of God -- and it is just as

honorable to sing in the theater as in the

synagogue."

241.CLOSE-UP FATHER AND SON

As Jack finishes title, he endeavors to continue but the old man stops

him. He points to the door. Jack, with a gesture of defeat, turns away

from him, toward the chair upon which are his things.

242.MED. SHOT GROUP

Sara goes to the old man and pleads with him not to be so hard on their

only boy. The old man stiffens and waves her away. Jack starts closing

his bag. The old man picks up the shawl and holds it to him, saying that

he wants nothing bought with his unclean money.

Jack disregards him, closing the bag. Sara takes it and the old man

tells her to burn it if it is not taken away. Jack turns to his mother.

She comes to him, and he puts his arms around her. The old man stands

like a statue waiting for Jack to leave his roof. Sara kisses Jack, and

he kisses her and pats her on the back.

243.CLOSE-UP JACK AND MOTHER

He finally disengages her hands and talks to her soothingly. He picks up

his things and starts to go. Then he turns and faces his father.

244.CLOSE-UP FATHER

He stands looking over Jack's head, silently waiting his departure .

245.CLOSE-UP JACK

He hesitates a moment, then addresses his father quietly. He says:

TITLE 87:
"Some day, Papa, maybe you'll understand things

like Mama does."

246.MED. SHOT GROUP

The father affects not to hear. He merely points to the door. Jack turns

to his mother, says good-by to her again, and starts toward the door.

The old man stands impassively as Jack passes him on his way out. Sara

makes an impulsive gesture in Jack's direction, but the old man stays

her with a slight movement of his hand.

SLOW FADE OUT:

FADE IN:

247.FULL SHOT STAGE THEATER

The camera is set upstage center and is shooting toward footlights.

There is a row of twenty-four chorus girls downstage, extending across,

all in rehearsal rompers, and they are dancing in unison. As they finish

a kick, a tall lanky figure of a man in shirt-sleeves rises from the

footlights and halts them with a hand in the air. He is Jim Sparks who

puts on the dances, and he starts telling the girls in expressive

language just what he thinks of their efforts and where he thinks they

belong.

248.CLOSE-UP SPARKS

He finishes telling them what he thinks of them, then tells them to

watch him. Although his timing and technique are correct, his efforts,

because of his build and attire, make him appear ludicrous. He stops and

calls to the piano player to do it over again. Addressing the girls, he

says:

TITLE 88:
"Now let's have some life in it -- and don't be

afraid of busting anything."

249.FULL SHOT STAGE FROM SIDE

Sparks backs away and the girls go into the steps as he did it. He nods

approvingly. A small group of people appear in the wings on the opposite

side of the stage and stand watching the dancers. There are two men and

a woman.

250.CLOSE SHOT GROUP

Camera is in wings behind them and dancers are seen in the background

going through their evolutions. The girl turns to talk to the man at her

left, and it is seen that she is Mary Dale. The man is Randolph

Dillings, a middle-aged, well-dressed, rather distinguished type, a

well-to-do businessman who finds amusement and sometimes profit in

dabbling in stage enterprises. The other man, somewhat younger, is Harry

Lee, the producer of the show.

251.CLOSE-UP DILLINGS

He looks away from the dancers and says something to Lee.

TITLE 89:
Randolph Dillings whose money was behind the

new edition of "April Follies."

Back. He is talking.

252. CLOSE-UP LEE

He answers Dillings and turns away with a frown.

TITLE 90:
Harry Lee who was staking his reputation as a

producer on the same show.

He is watching the girls and nervously chewing his cigar. He takes out

his watch and looks at it.

253.CLOSE SHOT THREE

Lee turns to Mary and tells her that it is about time that the new

comedian is showing up. Mary smiles and tells him that they needn't

worry about him. Dillings turns to Mary anxiously and says:

TITLE 91:
"You're sure, Mary, that this discovery of

yours can sing as well as Hal Bolton?"

Mary nods and smiles confidently. She says:

TITLE 92:
"He's better than Bolton. You won't be sorry

you took my advice."

The men continue to look worried, however, and Mary starts to tell them

more about the new comedian.

254.EXT. STAGE DOOR

The old man who sits in the doorway looks up and instinctively puts a

foot across the entrance, and a second later Jack Robin appears. He is

not carrying the bag or cane now. Otherwise he appears as he did a few

hours earlier at the home of his father. He tells the old man who he is.

The latter grudgingly admits him.

255.FULL SHOT STAGE FROM WINGS

The three are still in the foreground, and Sparks is drilling the girls

relentlessly. They stop at the end of the dance, and Sparks walks over

to the group. Dillings steps over and starts to talk to him as Jack

comes into the scene. Mary turns as she hears his step and goes to greet

him. Lee stands where he was. Jack stops as he sees Mary. She goes to

him with outstretched hands.

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