The Jazz Singer Page #15

FADE OUT:

FADE IN:

313.THEATER STAGE FROM FRONT

The orchestra is in the foreground, and the curtain is down. In the

immediate foreground are empty seats in the first few rows of the house,

and several men with hats on are sitting down front. Lee is among them.

He calls out something, and the orchestra starts to play the curtain

music. (This may be Vitaphoned with good effect.)

314.CLOSE-UP LEE AND OTHER MAN

The man with him is a typical businessman of Hebraic type -- the sort

that one finds financing shows on Broadway. Lee turns to him and says:

TITLE 134:
"A dress rehearsal isn't the easiest thing on

the nerves."

The other man nods sympathetically. He replies:

TITLE 135:
"If that new jazz singer is what you say he is

-- we've got nothing to worry about."

315.FULL SHOT STAGE FROM FRONT

The men are in the foreground as before, and Lee nods anxiously as the

other man finishes the title. The orchestra gives a signal and the

curtain goes up, showing the line of girls across the stage for their

first number. (This should be Vitaphoned and the volume cut down to a

minimum when we cut to the following scenes in the dressing room.)

316. INT. JACK'S DRESSING ROOM

Jack is dressed and is just beginning to put on his facial make-up when

Mary enters. She pirouettes before him and pouts as he evinces only a

slight interest in her. She stops and goes over to him.

317.CLOSE-UP JACK AND MARY

Mary puts a hand on Jack's shoulder and, pointing to her costume, as he

turns around, says to him:

TITLE 136:
"You haven't said a word about my nice new

costume for the first dance."

Back. Jack gives himself a mental dig and assumes an air of much

interest. Mary, however, has lost her interest in Jack's reactions to

her appearance by this time. She realizes that Jack is worried about his

father. She asks him if that is what is worrying him. Jack shakes his

head. He says:

TITLE 137:
"No, I have only one thing on my mind now --

the opening tonight."

He turns to his make-up. Mary shakes her head. She knows that the other

matter is worrying him more than that. Jack starts to blacken his face.

318.LONG SHOT STAGE

This is a shot downward from fly gallery, showing one of the ensemble

dance numbers in progress, just as it would be were the performance

really on. The chorus falls back and two adagio dancers come on.

319.MED. SHOT STAGE FROM FRONT

The adagio dancers do a part of their routine.

320.CLOSE-UP DRESSING ROOM

Jack has just about completed his make-up. Mary is sitting on a chair a

short distance away. They are talking as Jack puts the finishing touches

to his make-up, the enlarging of the lips. Mary leans over.

321.CLOSE-UP BOTH

Mary asks him just what Yudelson wanted of him. Jack explains about the

age-old customs, which mark the observation of Yom Kippur. Mary nods as

he explains. She says:

TITLE 138:
"And they want you to sing tonight in his place?"

Back. Jack nods. He throws out his hands in an eloquent gesture as he

tells her how hopeless it is. He adds as he leans over earnestly:

TITLE 139:
"I don't really belong there -- here's where I

belong, on Broadway, but there's something in

the blood that sort of calls you -- something

apart from this life."

Mary nods understandingly. She says:

TITLE 140:
"I think I understand, Jack. But no matter how

strong the call, this is your life."

322.MED. SHOT SAME

Jack nods and gets up. He inspects his make-up in the glass closely.

Mary looks at herself in the long glass at the other side of the room as

the stage doortender enters. He pauses in the door and, as Jack sees

him, he tells Jack that there is someone at the door to see him.

323.CLOSE-UP DOORTENDER

He says apologetically:

TITLE 141:
"It's the old bird who was here yesterday --

and he's got a lady with him."

324.FULL SHOT ROOM

Jack stands and stares at him. Mary starts for the door saying that she

will leave. Jack motions to her to remain.

325.LONG SHOT TOWARD DOOR

Before the old doorman can turn, Yudelson enters, followed by Sara. She

is wearing a shawl over her housedress, just as she left in her haste.

As Jack sees her he goes rapidly toward her, crying, "Mama! " She stands

and looks at him in a puzzled way. He goes up and takes her hands in

his. He starts to kiss her, then remembers her [sic] make-up. Sara holds

him off as Yudelson comes up to them, looking at Jack in a puzzled

manner.

326.CLOSE-UP THREE

Sara looks at Jack, eager though puzzled, and says:

TITLE 142:
"Jakie, this ain't you ..."

Yudelson adds:

TITLE 143:
"It talks like Jakie, but it looks like a

n*gger."

Sara waves Yudelson aside, telling Jack that she has something to ask

him. Jack asks her to sit down, and he sits down opposite her. She

starts pouring out her grief in an uninterrupted flow of words.

327.FULL SHOT ROOM

Mary is standing in the doorway, in the foreground. She looks intently

from the mother to her son, her gaze resting on him to see, if possible,

what the results of this visit will be. Then she turns slowly and leaves

them, a worried frown on her face.

328.CLOSE-UP MOTHER AND SON

He is leaning close as she talks. He tries to interrupt her with a

hopeless gesture, but she motions to him to listen to her. She

continues:

TITLE 144:
"For generations God has heard a Rabinowitz

sing every Day of Atonement ..."

She pauses for a breath and adds:

TITLE 115:
"Maybe your papa is dying. God will ask him and

he will have to tell him his only son is

singing in a theayter instead ... "

She leans over closer and pleads with him.

329.CLOSE-UP YUDELSON

He leans over and adds his argument:

TITLE 146:
"And if you don't come, there is only Levy the

Shammas to sing -- with a voice like a frog."

He gives a gesture of disgust.

330.CLOSE-UP MOTHER AND SON

Jack takes her hand tenderly and tells her that what she asks is

impossible, that they're all depending on him -- that this is the one

big chance of his life. Fame and fortune will be his if he succeeds. He

adds:

TITLE 147:
"And that's what you are asking me to give up."

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