The Jazz Singer Page #8

INSERT TELEGRAM:

NEW YORK:

Miss Mary Dale

State-Lake Theater, Chicago, Ill.

Would you consider leading role new musical

show Fall opening, rehearsals begin two weeks.

Wire answer.

Harry Lee

Back to scene. Jack's face brightens as he finishes reading it. He hands

back the wire to Mary, saying:

TITLE 54:
"Gee, it's a great chance for you."

Mary nods, smilingly telling Jack it's the opportunity she has been

working for, ever since she began her professional career. Jack pauses a

moment as realization begins to come to him that Mary's good fortune

means the end of the happiest period of his life. He puts out a hand and

congratulates her, then he adds falteringly:

TITLE 55:
"I'll be sorry ... in one way to see you go.

I ... we ... we'll miss you a lot."

Mary smiles tenderly. She puts a hand on his arm affectionately. Jack

looks away as he says:

TITLE 56:
"I'll never forget that it is to you I owe

everything I am -- or ever will be."

Mary affects a light manner as she laughs and tells him to snap out of

the gloom. Jack pulls himself out of his sentimental mood to meet her

assumed gaiety. He asks her when she is leaving and she says after the

night performance the next day.

159.FULL SHOT ALONG DRESSING ROOMS

As Mary and Jack are talking, the door of another room opens and the

head of Buster Billings comes out. He sees Jack and shouts to him to

hurry up and get dressed. Jack, with another hesitating look at Mary

during which he seems desirous of saying something else, turns suddenly

and leaves her. She pauses a moment and looks after him. Then with a

smile, she enters her own room and closes the door.

NOTE:
Playing a romantic scene in blackface may be something of an

experiment and very likely an unsuccessful one. As an alternative,

should it not prove as effective as desired, there could be a scene

after No. 161 in Jack's dressing room, showing him enter in blackface

and start taking off the make-up.

160.INT. JACK'S ROOM

He enters, followed by Buster, who is urging him to get cleaned up and

dressed. Jack turns to the table, hesitates, and turns around to Buster.

161.CLOSE-UP BOTH

Jack tells him of Mary's good fortune. Buster nods understandingly as

though to convey that he always knew she would "make it." Buster looks

at Jack as though to read his thoughts. Then he puts an arm on Jack's

shoulder and says:

TITLE 57:
"Better forget it, kid. She's wrapped up in her

career -- and you got a chance for Broadway

yourself if you keep up your present gait."

Jack nods and looks off into space. He slowly turns and reaches for the

can of cold cream.

FADE OUT:

FADE IN:

162.LONG SHOT MICHIGAN AVENUE

It is a general atmospheric shot showing the traffic on the boulevard

and the stately line of high buildings on the West Side.

163.MED. SHOT THEATER ENTRANCE

It is the entrance to a place like Orchestra Hall. There is a placard on

an easel in the center of the lobby.

164.CLOSE SHOT ENTRANCE

The lettering on the placard is as follows:

SPECIAL MATINEE:

LAST CHICAGO CONCERT

CANTOR ROSENBLATT

IN SACRED SONGS:

Popular Prices

165.MED. SHOT ENTRANCE

Among the people passing are Jack and Buster. Jack's eyes fall on the

placard and he stops. Buster stops and looks at Jack, who immediately

shifts his glance. He takes a quick look at his wristwatch.

166.CLOSE-UP JACK AND BUSTER

Jack tells Buster to go ahead adding:

TITLE 58:
"Forgot something. Run along and I'll meet you

at the hotel."

Buster gives him a wise look, shrugs his shoulders, and starts ahead.

Jack turns as though to retrace his steps; then as he sees that Buster

has vanished he darts into the theater lobby.

167.MED. SHOT LOBBY

Jack dashes up to the box office, lays down a bill, takes a ticket in

return, and goes quickly to the entrance through which he disappears.

DISSOLVE INTO:

168.INT. THEATER FULL SHOT FROM CENTER

The place is filled with a fashionable throng and a generous sprinkling

of Jewish types, mostly the better, well-to-do Jews of both sexes. The

stage is set for concert. There is a small orchestra of string pieces

and a grand piano. A man of dignified appearance and dressed in stylish

afternoon clothes comes out of the wings and faces the audience.

169.CLOSE-UP MAN

He announces:

TITLE 59:
"The next and last number to be sung by Cantor

Rosenblatt will be the famous song, 'Eli, Eli.'"

He bows and retires.

170.MED. SHOT STAGE

As the announcer retires, Cantor Rosenblatt appears and takes his

position. He turns to the orchestra leader who gives the signal for the

orchestra to play the introduction.

171.CLOSE-UP CANTOR

He starts singing "Eli, Eli."

172.CLOSE SHOT AUDIENCE

In a small group sits Jack Robin. He is sitting up straight, his eyes

fixed on the cantor in an almost hypnotic stare.

173.MED. SHOT STAGE

Showing the cantor singing and the orchestra playing. (Other shots as

needed for Vitaphone purposes.)

174.CLOSE-UP JACK

He has slumped in his seat and he is listening intently, his eyes still

fixed on the singer.

175.REVERSE SHOT CANTOR

It is a fairly close shot of the singer alone as Jack would see him from

a seat well in front of the house. The figure slowly dissolves into the

figure of Jack's aged father, Cantor Rabinowitz.

176.CLOSE-UP JACK

His eyes are half closed as he visions his aged father singing in

Rosenblatt's place. He rubs a hand across his eyes slowly.

177.CLOSE-UP RABINOWITZ

The figure slowly dissolves into the real singer, Rosenblatt. In this

shot he finishes the song. He bows and starts to exit.

178.CLOSE SHOT SECTION AUDIENCE

They are applauding. Jack is still under the spell of the singing and

his thoughts. The people on either side of him get up and start out. He

is alone, slumped down in his seat, his eyes half closed again as the

scene slowly FADES OUT.

FADE IN:

179.SYNAGOGUE ANTEROOM

There are about twenty Jewish boys in the room, much as they were in the

early part of the story. One of the boys, Moey, goes over to the

battered old piano, which, like other furniture of the room, is exactly

as it was ten years ago. Moey starts to play on the piano and the boys

quickly gather around him. They start to sing with him. (Vitaphone.)

180.CLOSE-UP MOEY

He is playing and singing "Yes, Sir, She's My Baby" with much gusto.

181.MED.SHOT GROUP

All of the boys are singing with him.

182.EXT. SYNAGOGUE

Cantor Rabinowitz, much more feeble than when we last saw him, is

approaching the door of the room in which the boys are singing. He

pauses as he hears the strains of unfamiliar -- and, to his ears,

profane -- music.

183.CLOSE-UP CANTOR

As he stops, his brow sets in a frown and his lips tighten. He throws

back his shoulders in a determined manner and starts for the door.

184.INT. ROOM MED. SHOT

The boys are still singing the popular song to Moey's jazzy

accompaniment.

185.FULL SHOT ROOM FROM PIANO

The door opens and the cantor's rigid figure appears. One of the boys

jabs Moey in the back with a whispered alarm.

186.CLOSE-UP MOEY

As the other boy jabs him, Moey, with hardly a change in tempo, starts

playing and singing "Eli, Eli" with a very sanctimonious expression on

his face.

187.MED. SHOT BOYS

They, with Moey, are all singing "Eli, Eli."

188.FULL SHOT ROOM FROM DOOR

The boys are singing the famous wailing song, as the cantor, standing in

the foreground, listens uncertainly.

189.CLOSE-UP CANTOR

He brushes a hand across his forehead in a perplexed manner. He is sure

that the music he heard from outside was not "Eli, Eli." Yet, he is

getting old and perhaps his ears are failing as well as his sight. Maybe

he has done the boys an injustice. His manner relaxes and he starts

toward the boys. (Vitaphone music is still going on.)

190.FULL SHOT ROOM

The cantor goes over to a side of the room, hangs up his battered old

derby hat, and puts on his familiar skullcap. One of the boys turns

around and, just as though discovering that the cantor has entered, he

tells Moey.

191.CLOSE SHOT MOEY AND BOYS

Moey gives an exclamation of surprise and stops playing suddenly.

(Vitaphone music stops.) The boys cease singing also and, with their

best synagogue manner, they start toward the cantor to extend the usual

salutation. Moey goes to the other side of the piano on which there is a

box. He picks up the box and goes toward the cantor.

192.MED. SHOT CANTOR

As Moey with the box goes up to him, the other boys fall in behind him.

The cantor looks at them in a surprised way, reaches in his pocket for

his glasses and puts them on, looks at Moey, and says: "Nu, what is

going on yet?" Moey hands the box in the direction of the cantor and

starts to say something.

193.CLOSE-UP MOEY AND CANTOR

Moey stammers a moment, then reaches in his pocket and, with the other

hand still holding out the box, he unfolds a wrinkled slip of paper with

the other, holds it up, and reads it:

TITLE 60:
"On the occasion of your sixtieth birthday,

Cantor Rabinowitz, your loving choir boys wish

to present you this token, with best wishes for

your continued peace, prosperity, and

longevity."

Back to scene. Moey stammers over the last word and, with a sigh of

relief, drops the paper. The cantor looks puzzled, then a smile

illumines his face as he takes the box, saying:

TITLE 61:
"That was a nice speech, Moey -- I forgot it

was my birthday."

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