The Jazz Singer Page #2

The father looks at him as though not willing to believe his ears. He

has never heard anything quite so blasphemous. He gulps a few times and

then, with a grimly sarcastic smile, he says:

TITLE 7:
"And if not a cantor, what are you going to be?"

He looks at the boy, awaiting an answer to a question which he regards

as unanswerable.

34.CLOSE-UP BOY

He swallows a few times, then looking up at his father courageously, he

declares:

TITLE 8:
"I want to be a singer in a theayter."

He half ducks as if expecting a blow.

35.CLOSE-UP CANTOR

He looks at the boy in amazement, his hands going aloft in horror. It is

difficult for him to speak. Finally he breaks out:

TITLE 9:
"For five generations there has been a

Rabinowitz as cantor -- I have taught you to be

one--"

He pauses for a breath, then, sticking out his bristling beard in the

boy's direction, he almost yells:

TITLE 10:
"And you -- you want to be a common actor in a

lowlife theayter!"

36.CLOSE-UP FATHER AND SON

The father makes as though to strike the boy, who this time stands his

ground bravely. The hand of the aged man is raised for the blow, but he

halts it in mid air. The father looks down into the eyes of the boy,

which are fixed steadfastly on him. He shakes his head sorrowfully.

FADE OUT:

FADE IN:

37.INT. MULLER'S CAFE

Long shot discloses one of those places so common in New York before

Prohibition, a long bar in front, and behind, separated from the bar by

a partition and swinging doors, a "garden" approachable from the "family

entrance" where "ladies" may dine and drink their beer, whether with

escorts or without them. The back of the place can be seen faintly. The

bar is being well patronized, and the three German bartenders are busy

putting out huge schooners of the amber fluid. Waiters are going in and

out of the swinging doors.

38.INT. GARDEN FULL SHOT

Looking toward the bar, there is a battered old piano in the foreground

on a slightly raised platform, at which sits a young man who looks twice

his age because of dissipation. He is smoking a cigarette in a listless

manner, and there is a schooner of beer on the piano at the end of the

keyboard. He is running his hands over the keys as though playing to

himself. Back of him may be seen the diners and drinkers. There is an

occasional family group and several of the tables are occupied by

flashily dressed women of an obviously well-known occupation. Some are

accompanied by men. At other tables are men alone quietly drinking.

39.CLOSE-UP FAMILY ENTRANCE

Seen from the inside, the door opens slowly and the head of Jakie

Rabinowitz appears. He looks about as though to see if the coast is

clear, then enters. His attitude indicates that he has been there

before.

40.FULL SHOT GARDEN

Jakie threads his way among the tables to the piano. Several of the

drinkers look at him as they recognize the boy, and there is some

conversation about him among the groups. Jakie calls to the piano

player, who swings around to greet him, as he gets on the platform.

41.CLOSE SHOT FLAYER AND JAKIE

The pianist greets Jakie jocularly:

TITLE 11:
"Well how's the kid Caruso today?"

Jakie answers him in kind:

TITLE 12:
"Great! How's old kid Paderooski?"

They laugh and the piano player indicates the diners and drinkers,

saying that maybe there's a few dimes for the kid in the place. They

confer a moment, then the piano player whirls around and strikes a

chord.

42.FULL SHOT GARDEN

Those at the tables look toward the piano with interest as Jakie, in the

background, is seen standing on the little platform facing them.

43.MED. SHOT BOY AND PIANO PLAYER

The player plays the introduction to "Mighty Lak a Rose" and the boy

starts to sing. (The various shots for this will have to be in

accordance with Vitaphone technique and its necessities.) Vitaphone

singing stops, when cut is made.

FADE IN:

44.INT. RABINOWITZ LIVING ROOM

It is a rather large room for that locality, the living room and dining

room of the modest flat occupied by the cantor and his family. The

furniture is good but old, and there are many shelves and tables which

are filled with knickknacks, china, glassware, and silver. Mrs.

Rabinowitz, a sweet-faced, motherly woman of between forty-five and

fifty, is just setting the table. It is the day of the eve of Atonement

Day, the most important holiday of Judaism, which is observed by even

the least religious of Jews, by twenty-four hours of abstinence from

food or drink. The cantor is pacing up and down the room in a very

nervous manner. He pauses occasionally to make a quick remark,

punctuated by an elaborate gesture, then resumes his pacing. The subject

of his remarks is Jakie.

TITLE 13:
Sara Rabinowitz was not as learned in the lore

of her race as her husband, but she had a

deeper and better understanding of life -- and

Jakie.

45.CLOSE-UP MOTHER

She is setting plates on the table as she listens to the cantor. She

hesitates, then says:

TITLE 14:
"Jakie is a good boy, Papa -- but maybe he

shouldn't be a cantor."

46. MED. SHOT BOTH

As Sara finishes title and resumes her work, the cantor stops and looks

at her in amazement. He starts to say: "What, not a cantor, you say

that?" Then he takes a long breath and, bringing his fist down through

the air, he breaks out into a stream of Yiddish.

47.CLOSE-UP CANTOR

He declares violently that Jakie must be a cantor, just like himself and

his fathers before him. He leans closer to his wife as he says, with

some semblance of pride:

TITLE 15:
"He knows all the songs and prayers even now so

good as I do. He could take my place yet

tonight and sing 'Kol Nidre' when Yom Kippur

begins."

He pauses as though awaiting an answer to what he considers an

unanswerable argument.

48.CLOSE-UP SARA

She nods her head in acquiescence of what her husband has said; then she

shakes her head slowly and replies:

TITLE 16:
"He has it all in his head, yes, but it is not

in his heart. He is of America."

49.CLOSE SHOT BOTH

As she finishes the old man looks at her in horror. This which she has

said is, to him, treason. She turns her back as he begins to scold

breathlessly.

50.FULL SHOT CAFE FROM FRONT END OF BAR

(Vitaphone singing is resumed.) There are only a few people drinking at

the bar in the foreground. The "garden" is visible as people pass

through the swinging doors.

51.FULL SHOT GARDEN

As seen from the doors, Jakie is singing and the people at the tables

are watching and listening approvingly.

52.MED. SHOT BAR

A tall, spare Hebrew with a straggly beard and a cutaway coat comes into

the foreground. He orders a glass of beer, putting his nickel on the bar

as he does so.

53.CLOSE-UP YUDELSON

He drinks slowly and with relish.

TITLE 17:
Moisha Yudelson, a man of influence in the

business and religious affairs of the ghetto.

Back. He reaches over and takes some of the free lunch. His attention is

attracted to the music. He listens curiously, then starts for the door

to the garden.

54.MED. SHOT DOOR

Yudelson pushes the swinging door open, his glass of beer in one hand

and a slice of meat on a piece of bread in the other. His eyes bulge as

he sees the singer.

55.LONG REVERSE SHOT

Jakie is singing.

56.CLOSE-UP YUDELSON

His lips tighten. He determines that something must be done about this

and he knows just what it is. He goes quickly to the bar.

57.MED. SHOT BAR

Yudelson gulps down the beer, crams the rest of the food into his mouth,

and exits. (Vitaphone singing stops.)

58. INT. RABINOWITZ HOME

The cantor is walking up and down the floor nervously. Sara is putting

the dishes of food on the table. The cantor stops and faces Sara

sternly.

59.CLOSE-UP CANTOR

He takes out a huge silver watch, looks at it, and says:

TITLE 18:
"Tonight Jakie is to sing 'Kol Nidre' in school

and he isn't yet here."

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