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Jazz Singer, The (1927)

by Alfred A. Cohn.

More info about this movie on IMDb.com


FOR EDUCATIONAL PURPOSES ONLY


TITLE 1:	The New York ghetto, the daily life of which 
		throbs to the rhythm of music that is as old as 
		civilization.

	FADE IN 

1. 	EXT. NEW YORK STREET  LONG SHOT
	It is a typical East Side business street at the height of the day's 
	activities, a street that is lined with pushcarts, sidewalk vendors and 
	little stores, with its milling shoppers, its petty marketing arguments,
 	its unkempt kids playing in the street heedless of consequences. In the 
	distance is seen an elevated train flashing across the background like 
	a comet across the sky.
 
2.	MOVING SHOT  SAME
	A shot may be made from an auto or truck down the street showing the 
	teeming life of the ghetto. As the camera reaches a street intersection,
 	a half dozen kids come into the scene.
 
3.	MED. SHOT  KIDS (STUDIO STREET)
	They are playing tag on the intersecting street which is given over to 
	tenements. There are no pushcarts and only a few stores in the basements
 	or ground floors of the buildings which house many thousands of ghetto 
	folk. The kids are attracted to something. They all look down the street
 	and then start running in the direction they have been looking. Some 
	little girls join them. (Vitaphone street piano, at some distance.)
 
4.	EXT. SIDE STREET  MED. SHOT
	In front of a low brick building is an Italian with a street piano and 
	he is grinding out that always popular classic of the East Side, "The 
	Sidewalks of New York." The kids come into the scene and gather around 
	the hurdy-gurdy.
 
5.	CLOSE-UP  GROUP 
	The Italian smiles as the children start dancing about. He looks 
	expectantly at the windows above him and nods pleasantly to someone up 
	above as he continues cranking the piano.
 
6.	EXT. TENEMENTS  LONG SHOT
	Looking upward from the street piano. This may be a very effective shot.
 	In several of the windows women are looking down at the music-maker and 
	other heads appear in other windows. Several take deliberate aim and 
	toss coins to the street.
 
7.	CLOSE-UP  ITALIAN
	He holds out his ragged cap and expertly catches several coins without 
	once taking his hand from the crank of the street piano. The piece ends.
 	He pulls a little lever and starts turning on another selection -- some 
	old operatic favorite like the "Intermezzo" from Cavalleria Rusticana. 
	He starts moving down the street as he plays.

8.	TENEMENT STREET  LONG SHOT
	As the street piano, still in operation, goes down the street, the group
 	of kids, now much larger, follows along. The Italian stops in front of 
	another building, which adjoins the Orchard Street synagogue. 
 
9.	CLOSE SHOT  FRONT SYNAGOGUE
	It bears the name, in Hebrew, of the temple. Several children get up on 
	the steps in front of the closed doors to listen to the music, which is 
	approaching. Next door is an old brownstone front, before which the 
	Italian stops. Underneath is a store, and in the flat over the store 
	live Cantor Rabinowitz and his family.
 
10.	INT. ROOM IN SYNAGOGUE
	Full shot of the little anteroom in which the rabbi holds school for the
 	children of the congregation and in which the cantor teaches the boys of
 	the choir the songs and chants of the orthodox -- the prayers set to 
	music that has been handed down for generations. Several boys are seated
 	on a bench beside a battered old square piano (one of the old square 
	Knabes may be obtained here). The sound of the street piano comes 
	through the open window, and the kids rush to the window. They no sooner
 	get to it and climb up to look out when the door into the room from the 
	synagogue proper slowly opens and the head of the venerable Cantor 
	Rabinowitz appears.
 
TITLE 2: 	Cantor Rabinowitz, who sang and taught the 
		youth of his congregation to sing the age-old 
		songs of Judea -- a man revered and respected 
		by all the ghetto.

11.	CLOSE-UP  CANTOR
	He peers into the room to see if his class is ready for him. He has some
	 difficulty in finding them. Finally he discovers them at the window. He
 	lifts his head as he hears the strains from the street piano, and a look
 	of disgust comes to him. He closes the door behind him and starts in 
	with a determined look.
 
11A.	REVERSE SHOT  BOYS
	They are packed in the window, patched pants seats and legs only being 
	visible.
 
12.	EXT. MED. SHOT
	The Italian is now in front of the synagogue and is grinding out another
 	tune while the children dance about the discordant instrument.
 
13.	INT. SCHOOL ROOM  MED. SHOT
	The four or five boys are jammed into the open window, some of them half
 	way out with feet sticking almost straight out backward. With determined
 	tread the cantor comes up behind them and starts yanking them out of the
 	window. They are badly frightened and duck as the cantor cuffs them 
	right and left.
 
14.	FULL SHOT  ROOM 
	The boys, some of them propelled from behind by the irate cantor, 
	scramble for their seats. The cantor starts to come after them, then the
 	strains of the music assault his delicate ear and he turns instead to 
	the window.
 
15.	CLOSE-UP  CANTOR
	He takes hold of the window and yanks it down roughly as though he 
	cannot shut out the sound from without quickly enough. (Vitaphone music 
	quickly dimmed to just a faint sound.) Then he turns and faces the boys.
 	He looks them over, muttering to himself imprecations on the terrible 
	sounds from without -- an insult to his musically attuned ear.
 
16.	MED. SHOT  BOYS AND CANTOR 
	The boys straighten up with solemn looks on their faces as the cantor 
	looks them over scowlingly.
 
17.	EXT. STREET OUTSIDE TEMPLE  LONG SHOT 
	The Italian and his piano are disappearing in the distance, and a group 
	of boys are playing ball in the street. One is batting.
 
18.	INT. CANTOR   CLOSE-UP 
	He is looking at the boys as he says:
 
TITLE 3:	"Where is Jakie, my son?"
 
19.	FULL SHOT   ROOM
	The cantor is in the foreground addressing the boys. As he finishes the 
	question one of the boys starts to answer it. The old man suddenly jumps
 	around and looks up in back of him.
 
20.	CLOSE-UP  WINDOW
 	There is a big round hole in the window.
 
21.	CLOSE-UP  CANTOR 
	He looks down at the glass on the floor, then stoops and picks up a ball
 	from the floor. He shakes his head ominously. He scowls at the kids, 
	then looks toward the door.
 
22.	CLOSE-UP  AT DOOR 
	It is opening cautiously and the black curly head of a boy of about 
	thirteen appears. He enters hesitatingly and fearfully of the possible 
	consequences.
 
23.	FULL SHOT  ROOM 
	The kids all look from father to son expectantly, each hoping that Jakie
 	will get a licking as soon as possible. The cantor comes toward the boy,
 	his brows knitted in a deep frown. Jakie starts toward his father 
	repeating, "I couldn't help it -- I didn't mean to hit it so hard --
	honest I didn't." They meet in the center of the room, the boy still 
	protesting half tearfully. The old man brings back his arm as though to 
	strike him.
 
24.	CLOSE SHOT  BOTH 
	As the cantor brings back his arm, Jakie shuts his eyes and ducks, but 
	the cantor reconsiders and brings the hand down alongside without 
	striking the boy. He waves him to his seat on the bench with a half-
	uttered threat to "fix him good the next time."
 
25.	FULL SHOT  ROOM 
	The cantor turns from Jakie with an impatient gesture and lines the boys
 	up for their lesson. He calls them to attention, then tells them to 
	listen to what he is going to sing. He walks to the piano and poises a 
	hand over the keys.
  
26.	CLOSE-UP  CANTOR
	He strikes a note to give him the key he wants but the piano is 
	evidently out of tune. He shakes his head disgustedly, then takes an 
	old-fashioned tuning fork out of his inside coat pocket and strikes it 
	on the side of the piano, then holds it to his ear. He sings the note 
	and then indicates to the boys that they are to follow him as he sings.
 
27.	MED. SHOT  CANTOR AND BOYS
	The cantor is singing and one of the boys is paying no attention. He is 
	looking around toward the window longingly. The cantor, still singing, 
	walks over to him and cuffs him on the ear.
 
28.	CLOSE-UP  CANTOR AND BOY
	The boy ducks a second swipe. The cantor glares at him and demands that 
	he give his undivided attention to the lesson.
 
29.	CLOSE SHOT  OTHER BOYS
	They are singing but taking in the scene on the side. They grin at each 
	other in joy at their companion's trouble, then they quickly turn their 
	eyes forward and sing more lustily as they feel the cantor's eyes on 
	them.
 
30.	FULL SHOT  ROOM
	The cantor takes his place again. He shows his disgust with the manner 
	in which the boys are singing and, with an impatient gesture, he stops 
	and tells them to go home.
 
31.	CLOSE-UP  CANTOR
	He waves them away, saying:
 
TITLE 4: 	"Go now, you sound like crazy cats crying 
		already."
 
32.	MED. SHOT  GROUP
	The cantor finishes his dismissal and as the boys, including Jakie, 
	start for the door, he stops his son. Jakie, with a crestfallen look, 
	follows with his eyes the disappearing figures of his playmates, who 
	quickly exit. His father calls him and he comes opposite him and looks 
	up rather sullenly for the scolding he expects.
 
33.	CLOSE-UP  CANTOR AND SON
	The cantor looks down at Jakie with a scowl and starts berating him. He 
	points to the window and his anger again rises. Jakie starts backing 
	away as though expecting violence. The old man gets himself together and
 	his attitude changes from anger to sadness. He says to the boy:
 
TITLE 5:	"A fine cantor you are going to be -- smeshing
		synagogue windows yet!"
 
	The boy looks up at him with an effort, which reflects something of the 
	length of time he has thought about this unpleasant future. He blurts 
	out:
 
TITLE 6:	"But Papa, I don't want to be no cantor."

	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." 

	He snaps shut the watch and glares at Sara.

60.	MED. SHOT  BOTH
	Sara makes some excuse for the boy. Maybe he doesn't know what time it 
	is. He starts pacing up and down again. Sara finishes the placing of 
	food on the table and starts arranging the chairs.
 
61.	CLOSE-UP   CANTOR
	He scowls as he pauses in his pacing and says:
 
TITLE 19:	"If he don't come now in a minute, he starts 
		his Yom Kippur fasting without supper."
 
62.	FULL SHOT  ROOM
	As the cantor resumes his pacing, Sara hears someone at the door and 
	goes to it, only to admit, instead of the expected Jakie, an excited 
	Yudelson. The cantor turns around in surprise. Yudelson rushes up to him
 	and starts telling him about seeing Jakie singing nigger songs in 
	Muller's. The cantor throws up his hands in horror. Yudelson nods grimly
 	but in a satisfied manner.
 
63.	CLOSE-UP YUDELSON
	He says in a self-righteous manner:
 
TITLE 20:	"Of course it ain't any of mine business, but I 
		say to myself it's my duty, I--"
 
	He looks around surprised.
 
64.	FULL SHOT  ROOM
	The cantor has grabbed his hat and is on his way out of the door as 
	Yudelson stands open-mouthed. Sara starts wringing her hands.
 
65. 	CLOSE SHOT  YUDELSON AND SARA
	As they see the cantor disappear, Sara looks at Yudelson with marked 
	disapproval. He decides that it is time to go and turns as Sara starts 
	to reprove him for his tattling. She tells him he would be better off
	attending to his own business. With a hurried excuse Yudelson turns.
 
66.	FULL SHOT   ROOM
	Yudelson quickly disappears out of the front door and Sara drops into a 
	chair heavily. She knows that there will be an unpleasant scene before 
	long and she dreads it. 

67.	INT. BEER HALL  FULL SHOT 
	Jakie is just finishing a song and those at the tables start applauding.
 	Some of them throw coins to Jakie.

68.	CLOSE-UP  JAKIE 
	His singing manners have gone. Now he is just business as he starts to 
	pick up the scattered coins. He picks up the last one and pockets it. 
	Then he turns to the piano player.
 
69.	CLOSE SHOT  BOTH 
	They discuss what Jakie is to sing next. Then the piano player starts a 
	ragtime piece and Jakie starts to sing in the most approved darkey 
	manner.
 
70.	FULL SHOT  GARDEN 
	The people at the tables are showing new interest in the singer.
 
71.	CLOSE SHOT  FAMILY ENTRANCE 
	The door opens suddenly and the figure of the irate cantor appears. He 
	pauses and takes one look, then strides in with great determination.
 
72.	MED. SHOT  JAKIE FROM FRONT 
	He is putting everything he has into his song. He is rolling his eyes 
	and calling on "his baby." His eyes drop and he looks forward just in 
	time to see his father coming toward him. His voice breaks as the old 
	man comes into the scene. A determined arm reaches up and grabs him, and
 	the song ends abruptly.
 
73.	FULL SHOT  ROOM
	With the boy in a viselike grip, the cantor starts toward the door with 
	the squirming figure of his young son. The people at the table are 
	laughing heartily at the unexpected entertainment. Father and son exit.
 
74.	CLOSE-UP  PIANO PLAYER
	Getting the humor of the situation, he starts playing something 
	appropriate, like "Stay in Your Own Backyard" or perhaps something more 
	modern and more to the point.
 
75.	RABINOWITZ LIVING ROOM 
	Sara is sitting in the rocking chair, rocking slowly back and forth, 
	occasionally dabbing at her eyes with a handkerchief. She gets up and 
	goes to the table. She feels one of the dishes and, seeing that it is 
	cold, she starts with it to the kitchen. As she returns she looks toward
 	the front door, then rushes hurriedly in that direction.
 
76.	MED. SHOT  FRONT DOOR
	The cantor comes in breathlessly, pushing the boy ahead of him, just as 
	Sara comes up to them. The boy tries to go to her but the irate cantor 
	holds him tightly and motions Sara not to interfere.
 
                 
77.	CLOSE SHOT  GROUP
 	The cantor glares down at the boy who starts squirming. He tightens his 
	grip on him as he repeats over and over: "Singing nigger songs in a beer
 	garden! You bummer! You no good lowlife!" As Sara tries to intercede, 
	the cantor silences her almost roughly. As he half pushes her away he 
	says:
 
TITLE 21:	"I will teach him he shall never again use his 
		voice for such low things."

	He takes a fresh grip on the boy and starts in the direction of the 
	bedroom.
 
78.	FULL SHOT  ROOM 
	As father with son in tow go toward the bedroom, the mother follows a 
	few steps, pleading with the cantor not to whip Jakie. He turns around 
	and demands what she means by such interference. She looks at him 
	imploringly.
 
79.	CLOSE-UP  SARA
	She holds out her outstretched hands to the cantor, saying:
 
TITLE 22:	"It will do no good, Papa -- and he must get 
		ready for school in a few minutes. Yom Kippur
		begins soon."
 
80.	CLOSE SHOT  GROUP
	The cantor answers her with a snort of disgust and renewed determination
 	to continue with what he considers his duty. The boy, emboldened by his 
	mother's championship, turns and faces his father courageously. The old 
	man looks down at him in surprise.
 
81.	CLOSE-UP  CANTOR AND SON
	The boy looks up at his father, his boyish face set with determination. 
	He declares:

TITLE 23:	"I told you before -- if you whip me again, 
		I'll run away -- and never come back."
 
	At this show of rebellion the cantor stiffens. He nods his head 
	menacingly as though accepting the challenge, takes another grip on the 
	boy's shoulder, and pushes him toward the bedroom, as Jakie starts 
	sobbing hysterically. At the door, the cantor takes a strap that is 
	hanging over a chair near the door.
 
82.	MED. SHOT  ROOM
	As the cantor shoves open the door, Sara again tries to intervene. The 
	cantor holds out a hand to prevent her following, pushes Jakie into the 
	bedroom, and follows him, closing the door behind him with a bang. Sara 
	stands looking tearfully at the door, realizing the expected crisis in 
	the little family, which she has feared, has finally arrived.
 
83.	CLOSE-UP  SARA
	She stands mutely facing the door. Suddenly she starts and listens, then
 	puts her hands over her ears as though to shut out the sounds she hears,
 	and her shoulders heave with repressed sobs. She starts for the door, 
	then restrains herself. Her emotions finally overcome her and she drops 
	into a chair and cries without restraint. (Nothing of what occurs in the
 	bedroom is shown.)
 
84.	MED. SHOT  SAME
	The door of the bedroom opens suddenly and Jakie emerges. He is shaking 
	with a mixture of anger and the painful effects of the whipping. He 
	comes out quickly, looks at his mother, rushes over, and kisses her 
	impulsively, and as she puts her arms around him, he breaks away and 
	before she can stop him, he runs toward the front door.
 
85.	FULL SHOT  ROOM
	Jakie rushes to the door and dashes out, as the cantor appears in the 
	doorway of the bedroom. He is somewhat breathless from exertion. He does
 	not look to see what has become of the boy. He pauses and looks at his 
	wife in a dazed way. He looks toward the door. Then in a mechanical way 
	he takes his watch from his pocket and glances at it.
 
86.	CLOSE-UP  CANTOR 
	He holds the watch up to his eyes closely, then looks in the direction 
	of his wife and says:
 
TITLE 24:	"It is time for the services, Mama."
 
	He turns to the wall behind him where hangs the prayer shawl and the 
	freshly washed and ironed robe which the cantor wears when he sings the 
	"Kol Nidre" on the Day of Atonement.
 
87.	MED.SHOT  BOTH
	The cantor starts putting on the robe, with great deliberation. Sara is
	standing mutely looking toward the door through which her boy vanished.

								FADE OUT

	FADE IN

88.	INT. SYNAGOGUE  LONG SHOT
	Every pew in the place is filled with men, and in the balcony behind sit
 	the women in the place reserved for them. On the raised platform, the 
	cantor and the choir boys are taking their places.

89.	CLOSE SHOT  CANTOR AND CHOIR
	As the boys line up, a solemn look on each young face, the cantor looks 
	from one to the other.
 
90.	CLOSE-UP  CANTOR
	He has his back to the congregation. He has his eyes fixed on the place 
	where Jakie usually has stood.
 
91.	MED. SHOT
	As the Cantor stands motionless, the rabbi steps up to him. The old man 
	looks at him and they exchange a few words.
 
92.	CLOSE SHOT  BOTH
	The cantor looks at the vacant place again, then turns to the rabbi and 
	says, with a break in his voice:
 
TITLE 25:	"Tonight my boy Jakie was to sing 'Kol Nidre' 
		-- but he is not going to be a cantor now."
 
	Back. He finishes title. The rabbi moves out of scene, and the cantor 
	takes the position in which he is to sing.
 
93.	FULL SHOT  SYNAGOGUE 
	The congregation comes to attention, and small groups that have been 
	conversing look toward the cantor.
 
94.	MED. SHOT  CHOIR
	The cantor is in the foreground, his back to the camera, as the first 
	low notes of the "Kol Nidre" are sung. Never has the cantor's voice sung
 	the heart-breaking song like this before. There is a tear in every note,
 	and as his voice rises in the wailing harmony that is handed down from 
	the walls of Jerusalem, the choir boys look at him in wonder. (Vitaphone
 	is used in full volume.)
 
95.	FULL SHOT  SYNAGOGUE
	As the cantor's voice rises in a long, mournful wail, the scene and 
	music slowly FADE.
 
TITLE 26: 	Ten years and three thousand miles away from 
		the ghetto.
 
	FADE IN 

96.	AIRPLANE VIEW OF SAN FRANCISCO
	A shot may be obtained which immediately identifies the city, with its 
	hills and ferries and the Golden Gate in the distance.

								DISSOLVE INTO:
 
97.	OFFICE STAR VAUDEVILLE CIRCUIT
	Full shot of room shows various types of performers seated about the 
	room awaiting an opportunity to talk to the booking manager. There is an
 	old-time legitimate actor of the East Lynne period, a dancing team of 
	girls, three Teutonic-looking acrobats, a fat young man whose clothes 
	were once quite "snappy," and a few other types found usually in such a 
	place. The fat man is hidden behind a copy of Variety. An office boy, 
	small, weazened, and wise beyond his years, pertly tells all inquirers 
	that Mr. Schuler is "in conference." All of the people in the room look 
	hopefully toward the door every time it is opened and look away 
	hopelessly every time it closes. A big, husky, flashily dressed blonde 
	enters and breezes up to the boy. He gets up and tries to hold the gate 
	of the enclosure shut, so that she cannot enter.
 
98.	CLOSE-UP  BLONDE AND BOY
	She says that she is there to see Mr. Schuler. The boy looks at her and 
	says:
 
TITLE 27:	"Mr. Schuler's in conf'rence and can't be disturbed."
 
	The girl gives him a supercilious look, shoves him aside, and sweeps up 
	to the door to the inner room. She opens it and passes in as the boy 
	stands with open mouth and gazes after her.
 
99.	FULL SHOT  ROOM
	The less fortunate performers sit and look wonderingly at the closed 
	door. The boy finally shrugs his shoulders and takes his chair. The 
	outer door opens and a young man enters. He is shabbily dressed and, 
	although he is neat of person, it is obvious that he is down on his 
	luck. He pauses and then hesitatingly goes up to the railing where the 
	office boy sits idly hammering a typewriter with no paper in it. The boy
 	doesn't even look up.
 
100.	CLOSE-UP  JACK
	He stands looking at the boy nervously.
 
TITLE 28:	It was a long jump from Jakie Rabinowitz to 
		Jack Robin -- and the roses in his pathway 
		were almost hidden under the thorns.

						--George Jessel

	Back to scene. Jack asks the boy if he can see Mr. Schuler.
 
101.	CLOSE SHOT   BOTH
	The boy just looks up and snaps out that "it car,'t be done -- he's in 
	an important conf'rence." Jack hopelessly turns away and the boy 
	continues his mauling of the typewriter.
 
102.	FULL SHOT  ROOM
	As Jack walks disconsolately over to the one vacant chair, the young man
 	hidden behind the copy of Variety looks up. He recognizes Jack and, with
 	a smile, he jumps up and they grab each other's hands.
 
103.	CLOSE-UP  BOTH
	They exchange the usual greeting: "If it ain't my old partner of the 
	sticks, Jack Robin!" and Jack's return:
 
TITLE 29:	"--and the last time I saw you Buster Billings, 
		you were getting ready to climb a side door 
		Pullman in Cheyenne."
 
	Back to scene. They reminisce some more. Jack asks him what he is doing,
 	and Buster points hopelessly to the door of the inner office, saying, 
	"The same thing you are."

104.	FULL SHOT  ROOM
 	As they are talking, the boy suddenly jumps up as though answering a 
	buzzer and goes to the inner door. He opens it, listens to something 
	said within, nods, and closes the door. He walks to the rail and gives 
	the people sitting around the room a contemptuous look.
 
105.	CLOSE-UP  BOY
	He pauses a moment as he feels the expectant eyes on him, and with the 
	cruelty of youth, he barks out at them:
 
TITLE 30:	"The boss ain't seeing anybody else today -- 
		you can all duck."
 
106.	FULL SHOT  ROOM
	The occupants start getting up wearily. They start for the door. Jack 
	and Buster are the last to go. They pause in the doorway.
 
107.	CLOSE SHOT  BOTH
	They look at each other and Jack says to him: "Where to?" Buster pauses 
	and says they can take a walk and stall around awhile. He adds:
  
TITLE 31:	"Later we'll go to Coffee Dan's. My old side 
		kick, Frank Tames, is the -- impresario down 
		there and we can bum a feed off him."
 
	They start out of the door.
 
108.	EXT. STREET
	In the near foreground looking down the street is the entrance to the 
	Orpheum theater. The electric sign in front is lighted. The lighted sign
 	is suddenly extinguished to indicate that the show is over, and people 
	start coming out of the doors. This DISSOLVES INTO:
 
109.	INT. THEATER BACKSTAGE  FULL SHOT
	The players who have just finished their act, the closing one on the 
	bill, a troupe of acrobats, are just going to their dressing rooms. A 
	door to one of the stage dressing rooms opens, and a girl dressed neatly
 	in street attire comes halfway out.
 
110. 	CLOSE-UP   GIRL
	She is a small blonde girl, dressed in excellent taste. She is calling 
	out to someone not in sight.
 
TITLE 32:	Mary Dale, of the "Little Follies" act, was not 
		yet a headliner in her own right, but ambition 
		pointed the way to fame.
 
111.	MED. SHOT  GIRL
	She comes out of the door and closes it behind her. She calls again, and
 	in the background another girl and a young man, Ben Thorpe, appear. The 
	girl is a tall, wise-looking blonde of about twenty-five and the young 
	man is tall, blond, and good-looking. They come up to Mary and there is 
	some talk as to where they are going.

112.	CLOSE SHOT  THREE 
	They argue a while, then Mary says: "Let's go over to Coffee Dan's." 
	Estelle says that she won't remain long. The young man takes each by an 
	arm and they start out.

								FADE OUT
 
	FADE IN 
 
113.	INT. COFFEE DAN'S  FULL SHOT
 	The tables are pretty well filled by a fairly well-dressed crowd. Some 
	even are in evening clothes. There is a general air of hilarity, but no 
	drinking is in evidence. Next to a table filled by people in evening 
	clothes, their women bedecked with diamonds, is a table at which sit 
	several tough-looking characters. But there are not many of these. Men 
	waiters dash back and forth carrying mostly ham and eggs, the piece de 
	resistance of a Coffee Dan meal. At the piano on the platform sits Frank
 	James, tortoise shell-bespectacled musician and entertainer as well as 
	master of ceremonies. In the background, up near the platform, is a 
	small table at which sit Jack Robin and Buster Billings.
 
114.	CLOSE-UP  TABLE 
	Jack and Buster are eating heartily with all the gusto that 
	characterizes a healthy appetite that has been whetted by lengthy 
	fasting. They look up at Frank and grin happily.

115.	CLOSE-UP FRANK
	He looks down at them, gives them a signal, then walks to the edge of 
	the platform nearest them.
 
116.	FULL SHOT ROOM
	Frank is trying to get the diners to be quiet. The people at the tables 
	gradually hush their noise. Jack and Buster shove their plates away in 
	complete satisfaction.

117.	CLOSE-UP  FRANK
	He has a hand upraised as he looks over the crowd. Then he casts a look 
	down at Jack's table and winks as he starts announcing:
 
TITLE 33:	"And now I am going to ask Mr. Jack Robin to 
		sing something. Mr. Robin is the famous tenor 
		from Petaluma."
 
	Back to scene. He winks again as he looks down at the table.
 
118.	CLOSE SHOT  TABLE
	Jack is shrinking back in an embarrassed manner. Buster reaches over and
 	claps him on the back, telling him to be a good sport, that they all do 
	it there, even the big ones in grand opera.
 
119.	MED. SHOT TABLES
	The people at the tables are looking at Jack and hammering on the tables
 	with their hammers in an encouraging manner.
 
120.	CLOSE-UP  JACK AND BUSTER
	Jack dumbly accuses Buster of framing him, but the latter just laughs. 
	Jack finally pulls himself together as he realizes that there is no out 
	for him.
 
121.	MED. SHOT  TABLE AND PLATFORM
	As Frank leans down with hand extended, Jack stands up, straightens his 
	coat, and joins him. Frank gives him a hand and yanks him up on the 
	platform, where they go into a conference as to what Jack is to sing.
 
122.	LONG SHOT FROM PLATFORM
	Jack and Frank are in the foreground at the piano talking. In the 
	background, a group appears at the foot of the stairs just entering the 
	place. It is the group from the vaudeville theater. Mary is in front, 
	and as the head waiter motions to them, they enter the place and are 
	seated at a table just in front of the platform as Frank sits down at 
	the piano and starts playing for Jack, who has advanced to the edge of 
	the platform.
  
123.	CLOSE-UP  JACK
	He starts to sing his song. (The song, which is to be Vitaphoned, should
 	be one especially written for the occasion, as any current number would 
	be out of date long before the picture has played every theater equipped
 	for Vitaphone by release time.)
 
124.	MED. SHOT FROM FLOOR
	The table at which Mary and her party are seated is in the immediate 
	foreground. They are paying attention only to the waiter who is standing
 	over them awaiting their orders, as Jack is singing. Mary, attracted by 
	his voice, looks away from the group wonderingly as she listens.
 
125.	CLOSE-UP  MARY
	She is looking up at Jack curiously as she listens. This is something 
	new to her.
 
126.	CLOSE-UP  JACK
	He is singing, his eyes aimed toward the back of the place. As though 
	feeling the attraction of Mary's gaze, his eyes slowly come down. As 
	they meet those of Mary, he gulps and almost breaks. With an effort, he 
	continues singing, his eyes on the girl.
 
127.	CLOSE SHOT  GROUP AT TABLE
	Mary still has her eyes on the singer. The others of the group, Estelle 
	and Ben Thorpe, are looking at Jack as they see him looking intently at 
	Mary. They turn to her and start kidding her about her conquest. She 
	kids them in return and does not look at Jack again. She is again her 
	usually reserved self, a girl intensely interested in her work and 
	wrapped up in her career.
 
128.	MED. SHOT  JACK
	He is bringing his song to a close. As he does, Frank gets up quickly 
	and shakes hands with him. Jack is embarrassed at this and, at Frank's 
	instigation, he turns and bows to the audience and jumps down from the 
	platform hurriedly as though in fear that he would be called on again.
 
129.	FULL SHOT  ROOM
	The diners are applauding and pounding on the tables with their hammers.
 	Jack, in the background, is seen going to his table, where Buster rises 
	and slaps him on the back and compliments him on his work. The diners 
	are still applauding and Jack turns and bows to them. Buster tries to 
	get him to go up again but he shakes his head and sits down at his 
	table.
 
130.	CLOSE-UP  JACK AND BUSTER
	Buster is still complimenting Jack, but the latter's eyes have wandered 
	to the table occupied by Mary and her companions. Buster follows his 
	gaze. His face lights up with recognition. Jack notes this and turning 
	to him eagerly says: "Do you know her?" Buster says: "Which her?" Jack 
	indicates Mary. Buster nods: "Sure I know her -- I'm going over and say 
	Hello." Jack starts to follow, then subsides, his eyes on Buster.
 
131.	CLOSE SHOT  MARY'S TABLE 
	Mary is saying to Thorpe:

TITLE 34:	"Well, I'm going to tell Berg about him -- with 
		a voice like that --"
  
	Buster comes up as she is talking. He shakes hands with Mary and 
	Estelle, and Thorpe is introduced. As they shake hands, Estelle spots 
	Jack and tells Buster to ask Jack over. Buster waves his hand and sits 
	down.
 
132.	CLOSE-UP  JACK
	He sees the signal and jumps up eagerly. Then with an effort to slow 
	down in order to hide his eagerness to meet Mary, he walks slowly over 
	to the table.
 
133.	CLOSE SHOT  MARY'S TABLE 
	Buster is telling them about Jack, when the latter appears. Buster 
	presents him, and Mary asks him to sit down in the chair next to her. He
 	does so. Mary turns to him and asks him something about himself, first 
	congratulating him on his singing.
 
134.	FULL SHOT  ROOM
	Frank goes to the piano and starts a dance number. The couples flock out
 	to the little dancing space. Thorpe asks Estelle to dance and she gets 
	up. Mary and Jack are deep in conversation.
 
135.	CLOSE SHOT   MARY'S TABLE
	As Estelle and her escort move away in the dance, Buster looks at Jack 
	and starts to say something. Neither pays any attention to him. He makes
 	a facetious excuse, then gets up. They never notice him leave.

136.	FULL SHOT  ROOM
	Buster threads his way through the dancers and climbs up on the 
	platform. He goes over to Frank and sits down on the stool alongside of 
	him. Frank starts to talk to him while he is playing.
 
137.	CLOSE-UP JACK AND MARY
	Jack thanks her for her approval of his song. Then, after a moment of 
	embarrassment, Jack tells her that he has seen her act on the Orpheum. 
	He says:
 
TITLE 35:	"I caught your act in the Orpheum at Salt Lake 
		-- I think you're great!"
 
	He leans over toward her in a gesture of boyish enthusiasm rather than 
	one of forwardness. Mary smilingly acknowledges the compliment. She asks 
	him where he played in that city. Jack replies:

TITLE 36:	"Oh, I sang in a movie house there -- and I've 
		been two weeks getting here." 

	He pauses and looks at her in a sidelong glance to see if, knowing the 
	truth about him, she would regard him any differently. She gives him a 
	quick look of sympathy, then says:
 
TITLE 37:	"If you come over to the Orpheum tomorrow at 
		2:00, I'd like to introduce you to the 
		manager."
 
	Jack looks at her wonderingly. He has been buffeted about so much that 
	he has long since lost confidence in his own ability. He asks Mary 
	eagerly if she thinks he can make the grade there. The girl nods and 
	says:
 
TITLE 38:	"I think your voice would get you a long ways 
		on the big time -- you sing jazz, but it's 
		different -- there's a tear in it."
 
	Jack looks at her gratefully. He is close to a tear now himself. The 
	girl smiles at him in a purely impersonal manner as he reaches out his 
	hand toward hers in an impulsive gesture. Then he slowly withdraws it 
	without touching hers.
 
								FADE OUT 

	FADE IN
 
138.	INT. RABINOWITZ HOME
	The cantor, much older and more feeble than when we last saw him, is 
	seated at the table in the living room. His beard is almost white and 
	the hair about his temples is white and thin. There are deep lines in 
	his face, but a look of resignation has taken the place of the 
	indomitable sternness that marked his appearance ten years before. At 
	his side is standing a little Jewish boy, Moey -- a youngster of about 
	ten -- a typical ghetto child of the underfed, frail build. He is 
	singing and the old man is nodding his head in time as he does so.
  
139.	CLOSE SHOT  BOTH
	The cantor suddenly stops the boy. He tells him that he is singing it 
	wrong. He adds:
 
TITLE 39:	"You must sing it with a sigh -- like you are 
		crying out to your God."
 
	He motions to him to sing it again. The boy tries it and is again 
	stopped, this time more impatiently by the cantor.
 
140.	CLOSE-UP  CANTOR
	He looks at the boy and his mind seems to wander. There is a misty look 
	in his eyes as he says:

TITLE 40:	"I wish I had my Jakie here -- he could show 
		you how to sing it -- he had a voice like a 
		angel."
 
141.	CLOSE SHOT  BOTH 
	Moey looks up at him curiously. The old man has turned his eyes back 
	into the past and is oblivious to the boy's presence until Moey looks up
 	and says:
 
TITLE 41:	"He ran away from home, didn't he, your boy?" 

	The old man looks at the boy, suddenly awakened from his reverie. His 
	face sets and his lips compress as he says, very slowly:

TITLE 42:	"I haven't got any boy." 

	Back to scene. Moey looks up at him wonderingly. The old man looks away 
	and Moey, boylike, is persistent. He tries it again:

TITLE 43:	"But Mike Lefkowitz says your boy is a singer 
		in a theayter way out west -- in Pittsburgh or 
		Buffalo."
 
	The cantor looks down at Moey as though he just faintly hears him. He 
	shakes his head, saying to himself, "I have no boy." Then he rises 
	quickly from the chair and says to the boy:

TITLE 44:	"That is all for today -- come back tomorrow."
  
142.	MED. SHOT  ROOM 
	The boy starts out of the room at this, and the cantor sits down again 
	and is deep in thought as Moey exits.
 
								FADE OUT 

	FADE IN 

143.	RABINOWITZ LIVING ROOM 
	Mrs. Rabinowitz is seated in the rocking chair, just opposite and a 
	short distance from Yudelson. Both have aged considerably. Yudelson is 
	better dressed and has more of the air of a prosperous citizen. His 
	beard is neatly trimmed and he wears well-tailored clothes. Mrs. 
	Rabinowitz's hair is grayer and there are deeper lines in her face. She 
	is leaning over, listening to Yudelson who has a letter in his hand from
 	which he is reading.
 
144.	CLOSE SHOT  BOTH 
	Yudelson looks up from the letter as he says: "Y' understand what he 
	means?" He starts to explain. But Mrs. Rabinowitz stops him and says:
 
TITLE 45:	"What else does Jakie say in the letter?"
 
	Yudelson starts to read again. Sara leans over closer so that she won't 
	miss a word.
 
145.	CLOSE-UP  YUDELSON
	He is reading the letter with elaborate gesticulations.
 
INSERT LETTER
 
					Omaha, June 4th. 

		Dear Mama:

		I thought you would like to know I am getting 
		along great in vaudeville, and maybe I will 
		soon be a headliner, and a wonderful girl 
		whose name is Mary Dale got me my big chance 
		out in 'Frisco. Maybe I will be in New York 
		soon.

					Your loving son, 
						Jakie 

		P.S. 	You can write me care State-Lake theater, 
			Chicago. Remember the name is Jack Robin.
 
	Back to scene. Yudelson looks up as he finishes reading.
 
                 
146.	CLOSE SHOT  BOTH
	Mrs. Rabinowitz asks Yudelson what Jakie means by headliner. Yudelson 
	explains, and the old lady is thoughtful a moment.
 
147.	CLOSE-UP  MOTHER 
	She hesitates a moment, then turns to Yudelson and says:
 
TITLE 46:	"Read it again, what he says about the girl."
 
148.	CLOSE SHOT  BOTH 
	Yudelson again reads the passage about Mary Dale. He looks at Mrs. 
	Rabinowitz as though realizing what she is thinking of. He says: "Nu, 
	anything else?" Mrs. Rabinowitz hesitates, then says:

TITLE 47:	"Maybe he is fallen in love -- and by her name 
		she is a shiksa."
 
	Yudelson thinks a moment, then shrugs his shoulders. He says:

TITLE 48:	"Maybe not -- you know Jennie Levi on the 
		theayter is Genevieve Leeds."
 
	The old lady is relieved at this solution of her problem. Yudelson hands
 	her back the letter. She thanks him and he starts to get up.

								FADE OUT
 

	FADE IN 

149.	LONG SHOT  BACKSTAGE
	It is the stage of the State-Lake theater in Chicago, and a matinee 
	performance is in progress. There is the usual activity among the 
	stagehands preparatory to changing the set. The act which is now on is a
 	dancing act, and there is only a fleeting glimpse of the dancers through
 	the aperture of a narrow entrance. (A novel effect may be had by 
	shooting through the first entrance so that [there is] a view of part of
 	the audience as well as some of the dancers who are downstage. The dance
 	music may be reproduced by the Vitaphone.)
 
150.	MED. SHOT  STAGE
	Through entrance from another angle there is a more complete view of the
 	dancers. Mary Dale, the principal of the act, is seen doing a movement 
	of her dance. (This should be of such grace and technique that would 
	warrant headline position for Mary.) As the dance comes to a close, a 
	figure comes into the foreground, and a side view shows that it is Jack 
	Robin in blackface. He applauds from the wings as  Mary finishes. 
	Apparently he is just ready to go on with his  act, or has just finished
 	and is watching Mary before he takes the make-up off his face.

151.	CLOSE-UP  JACK
	He is applauding vigorously.

TITLE 49: 	Orchard Street would have had some difficulty
		in recognizing Jakie Rabinowitz of Beth-El 
		choir under the burnt cork of Jack Robin.

	Back. He takes a step forward as though to meet the receding dancer as 
	she bows repeatedly in making her exit.
 
152.	MED. SHOT  SAME
	Mary almost backs into Jack as she comes off the stage, and he puts out 
	a hand to catch her arm. The supporting dancers have exited on the other
 	side. There is just time for an exclamation of surprise from Mary as she
 	goes on the stage again for another bow. She turns to Jack as she gets 
	to him and puts a hand on his arm, as he compliments her on her dancing.

153.	CLOSE-UP  JACK AND MARY
	She says to Jack with a humorous gleam in her eye:

TITLE 50:	"I don't know what I'd do, Jack, if it wasn't 
		for the  encouragement you give me."

	She laughs as she says this and Jack, realizing that she is kidding him,
 	says, in a rather embarrassed manner:

TITLE 51:	"Well, you know I'm just crazy about -- your act." 

	It is evident that he loses his nerve as he is about to tell her that it
 	is she he is crazy about. Mary starts for her dressing room, but is 
	suddenly awakened to the fact that the audience is still applauding and 
	she turns quickly to the entrance.

154.	MED. SHOT  SAME
	Mary is out on the stage bowing to the audience again. She bows several 
	times as she backs into the narrow space again where Jack awaits her.
 
155.	FULL SHOT  STAGE
	As Jack and Mary walk toward the dressing rooms, several persons on the 
	stage observe them. Two of the girls in the dancing act who are standing
 	at a door on the balcony overlooking the stage look at them and turn to 
	each other.
 
156.	CLOSE-UP  GIRLS
	One of them, indicating Jack and Mary, says to the other: 

TITLE 52:	"He's surely goofy about her." 

	The other one nods and says:

TITLE 53:	"But he ain't got a chance -- no Mammy singer 
		for Mary." 

	Back to scene. One opens the door and they go into girls' dressing room,
 	through the door of which may be seen the girls in various stages of 
	dishabille.
 
157.	MED. SHOT  JACK AND MARY
	They are standing in front of the door of the stage dressing room. Jack 
	starts to leave, but Mary halts him telling him that she has something 
	to show him. He looks at her wonderingly. She opens the door and darts 
	into the room, returning immediately with a telegram which she hands 
	him.
 
158.	CLOSE-UP JACK AND MARY
	Jack takes the telegram and looks at it. It reads:

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." 

	Moey smiles happily and, referring to the speech, he says: 

TITLE 62:	"Yes, my brother Clarence what goes to collitch,
		writes it for me." 

	Meanwhile, the cantor is opening the box. He takes out a prayer shawl, 
	wrapped in tissue paper.
 
194.	CLOSE-UP  CANTOR
	He unfolds the shawl eagerly and holds it up in pleased admiration, 
	saying:

TITLE 63:	"It's a prayer shawl! Just what I needed!"

	Back to scene. There is a tear in his eye as he beams on the boys.
 
195.	MED. SHOT  GROUP
	The boys gather around him. Moey assumes an air of importance.
 
196.	CLOSE-UP  MOEY
	He says, in reply to the cantor's remarks:

TITLE 64:	"Yes, it's a good one. Regular price nine 
		bucks, but we got it for seven-ninety-eight."
 
197.	MED. SHOT  GROUP
	The cantor beams on Moey again as he starts wrapping the shawl up again.
 	He puts it in its box and places it on the piano, then turns to the 
	boys.
 
198.	CLOSE-UP  CANTOR
	He assumes his old familiar attitude as he addresses the youngsters, 
	saying:
 
TITLE 65:	"And now we sing 'Kol Nidre' some -- in a month 
		it will be Yom Kippur and we must get it good."
 
199.	MED. SHOT  GROUP
	The boys line up in their accustomed manner, and the cantor gives them 
	the signal to begin singing."
 
200.	INT. LIVING ROOM  FULL SHOT
	Sara is standing at the table talking to another woman, Mrs. Rubin. She 
	is untying a parcel and the other woman is watching her eagerly.
 
201.	CLOSE SHOT  BOTH
	As Sara unwraps the package, she takes out a prayer shawl. She holds it 
	up in admiration as she says:
 
TITLE 66:	"I couldn't think of a more nice birthday 
		present for him."
 
	Mrs. Rubin strokes it admiringly and nods her agreement with Sara's 
	remark.
 
202.	EXT. HOME
	Yudelson is coming along the street with several packages and carrying a
 	jug of wine under his arm. He mounts the steps and rings the bell at the
 	Rabinowitz door.
 
203.	CLOSE-UP  YUDELSON
	He readjusts the packages which are slipping from his hold. One of the 
	packages is seen to be a large fowl, of which the feet are protruding. 
	He transfers the jug of wine carefully to the other hand.
 
204.	INT. HOME
	Mrs. Rabinowitz hears the bell and starts for the door. Mrs. Rubin 
	starts to make a hurried exit out of the back door as though not 
	desiring to encounter visitors in her housedress, but is prevailed upon 
	to remain, as Sara goes to the front door to admit Yudelson. Mrs. 
	Rabinowitz reappears, ushering in the visitor very ceremoniously. Mrs. 
	Rubin goes up to greet the new arrival, apologizing as she does for her 
	attire. Yudelson walks over to the table and dumps on it his parcels 
	with a long sigh of relief. The last thing he deposits is the jug of 
	wine, which he sets down carefully.
 
205.	CLOSE-UP  GROUP
	As Yudelson arranges the parcels on the table, Mrs. Rabinowitz looks 
	askance at him, and Mrs. Rubin starts fingering the fowl. He tells Sara 
	that it is for the cantor's birthday dinner. He picks up the long 
	package and hands it to Sara, saying:
 
TITLE 67:	"The turkey is from Nathan Levy for the 
		birthday dinner -- but this from me is a fine 
		prayer shawl for the cantor."
 
	Sara gives Mrs. Rubin an embarrassed look. Then, thanking Yudelson, she 
	says:
 
TITLE 68:	"It's awful good of you -- just what the cantor 
		needs, a new shawl."
 
	Yudelson beams proudly as Sara edges over to Mrs. Rubin. Yudelson starts
 	walking away.
 
206.	CLOSE-UP  BOTH WOMEN
	Sara whispers to Mrs. Rubin:
 
TITLE 69:	"Now I got to exchange my present for something 
		else again."
 
207.	FULL SHOT  ROOM
	As Sara finishes title, Yudelson joins the women. He asks where the 
	cantor is and Sara points to the synagogue next door. Yudelson says 
	he'll drop in on him and exits out of the front door, leaving it open 
	behind him. Sara picks up the packages, then drops that containing the 
	shawl back on the table and takes the fowl into the kitchen. Mrs. Rubin 
	tells her she must be going, and she goes out with her. In the distance 
	she is seen going out of the back door.
 
208.	EXT. STREET
	Coming along the street approaching the house is Jack Robin. He is 
	walking briskly, a leather traveling bag in one hand, a cane in the 
	other, and a straw hat set rakishly on his head. He is wearing a well-
	fitting grey suit, tailored in excellent taste. People he passes stop 
	and look at him as though they thought such a figure was out of place in
 	this neighborhood. He looks curiously at the house in which he spent his
 	early youth and passes up the steps.
 
209.	EXT. ENTRANCE  CLOSE SHOT
	At the door which stands slightly ajar as Yudelson left it, Jack pauses.
 	His light manner leaves him as he finds himself again on the threshold 
	of his home. He hesitates as though not knowing whether to ring the bell
 	or walk in. He finally decides on the latter and enters the house 
	hesitatingly.

210.	INT. LIVING ROOM  FULL SHOT
	Sara is visible through the door into the kitchen as Jack walks into the
 	room rather haltingly. He lays down his bag on a chair, places his stick
 	alongside of it, and looks about to note what changes have been wrought 
	since he left home. His attention is attracted to sounds from without. 
	He pauses and listens.
 
211.	INT. CHOIR ROOM  FULL SHOT
	The boys under the leadership of the cantor are singing. (Vitaphone at
 	distance.)

212.	MED. SHOT  JACK
	He recognizes the air, and a look of yearning comes into his eyes. He 
	brushes away a tear. Then as he spies his mother in the kitchen, he 
	coughs to attract her attention.
 
213.	CLOSE-UP  MOTHER
	She turns suddenly from the fowl on which she has been working. She is 
	startled for a moment, then the look of surprise is followed by a 
	puzzled glance at the stranger in the living room. Slowly over her face 
	comes a realization of the identity of the visitor. With a glad cry she 
	starts toward the other room.
 
214.	INT. LIVING ROOM  MED. SHOT
	Jack sees his mother coming toward him and, with arms outstretched, he 
	goes forward to greet her and in a moment they are locked in each 
	other's arms.
 
215.	CLOSE-UP  MOTHER AND SON
	As they kiss each other affectionately, Sara wipes the tears from her 
	eyes. There are tears of joy in Jack's eyes too. Finally he holds her 
	off and looks at her with a semblance of his old impudent grin. He says 
	kiddingly:
 
TITLE 70:	"You don't look a day older, Mama -- just like 
		a chicken."
 
	Sara chides him with mock solemnity.
 
216.	CLOSE SHOT  BOTH
	Sara starts plying Jack with questions which come so fast that he is 
	obliged to call a halt. He puts a hand gently over her mouth and says, 
	"Listen, just a minute, Mama." He adds: 

TITLE  71:	"I just got into town and I hurried right down 
		to see you and Papa before I went to find out 
		about my new job."
 
	Sara looks at him questioningly. He continues:
 
TITLE 72: 	"I got a wire to come and join a new revue show 
		-- it's a great chance -- my name in electric 
		lights -- everything -- no more vaudeville --
		me Jakie Rabinowitz maybe a Broadway star, 
		Mama."
 
	Sara looks at him, only half comprehending what he is talking about. 
	Finally Jack sits her down in a chair.
 
217.	MED. SHOT  SAME
	Jack tells her to keep quiet a moment. Then he goes to his bag, opens 
	it, and extracts a small jeweler's box. He hands it to his mother, 
	telling her it's a little something he picked up for her. She holds it a
 	moment as she looks from Jack to the box. He says it's for her and to 
	open it. She does so hesitatingly, and her eyes widen as she sees the 
	glittering brooch which reposes in the plush-lined box.
 
218.	CLOSE-UP  MOTHER
	Her lips form the word "diamonds" in a startled manner as her eyes 
	reflect the glitter of the jewel. She looks up at Jack and says:
 
TITLE 73:	"Are you sure it's for me, Jakie?"
 
219.	MED. SHOT BOTH
	Jack laughs as he says of course it's for her. She shakes her head at 
	this unheard of extravagance. She tells him he shouldn't have spent so 
	much money for her. Jack laughs heartily.
 
220	CLOSE-UP  JACK
	He tells her that it's nothing at all, adding:
 
TITLE 74:	"I got so much money, Mama, Rockefeller is 
		jealous of me -- and Henry Ford is always 
		trying to borrow from me."
 
221.	MED. SHOT  BOTH
	Sara gets up and tells Jack that she will call his father. Jack tells 
	her not to, that he wants to look around first. He spies the piano and 
	goes over to it.
 
222.   CLOSE-UP  JACK AT PIANO
	He looks over the piano, fingers the keys appraisingly, and asks when 
	they got it.
 
223.	CLOSE-UP  SARA
	She says:
 
TITLE 75:	"The congregation presented it to Papa last 
		year."
 
	He pats her shoulder tenderly.
 
224.	FULL SHOT  ROOM
	Sara walks over to the piano as Jack sits down and starts to play a 
	jazzy tune. He gets through several bars when the front door opens and 
	the cantor appears. He hesitates at the unwonted sounds coming from his 
	cherished piano.
 
225.	CLOSE-UP  CANTOR
	His brows knit in a deep frown as he listens a moment. Then he takes a 
	resolute step forward.
 
226.	FULL SHOT  ROOM FROM DOOR
	As the cantor enters the room, he takes out his glasses and adjusts 
	them. Sara sees him coming and she puts a hand on Jack's arm to stop 
	him, telling him that his father has arrived. Jack swings around on the 
	stool, gets up, and hurries over to greet his father. As Jack puts out 
	his hand, the cantor makes no effort to take it. Sara hurries forward.
 
227.	CLOSE SHOT  THREE
	Jack is saying, "Why, hello, Papa!" The cantor remains impassive as the 
	frown deepens. Sara goes to him and, pointing to Jack, says eagerly to 
	her husband:
 
TITLE 76:	"Look, it's your son -- he said 'Hello, Papa' 
		to you."

	Jack nods in corroboration of this news. The cantor merely stiffens.
 
228.	CLOSE-UP  CANTOR
	He glares at Jack as he demands:
 
TITLE 77: 	"What you mean, coming in my house and playing 
		on my piano your music from the streets -- your 
		jazz?"
 
229.	CLOSE SHOT  GROUP
	Jack is abashed at this. He hesitates and Sara rushes in and takes the 
	blame for Jack playing. She pleads with the old man to welcome Jack, but
 	he remains adamant. He again points a condemning finger at Jack.
 
230.	CLOSE-UP  FATHER
	He almost shouts at him:

TITLE 78:	"I taught you to sing to God -- to be a cantor 
		like your fathers. But you liked better to 
		sing in beer halls than in the temple. You're 
		the same now."
 
231.	CLOSE SHOT  GROUP 
	Sara takes the cantor's hand and pleads with him, saying that Jack 
	doesn't deserve such treatment. Jack assumes also a pleading attitude. 
	Sara tells the cantor to remember that it is his birthday. At this Jack 
	goes to his bag.
 
232.	CLOSE-UP  JACK AT CHAIR
	He is rummaging in the bag excitedly and fishes out a package. He looks 
	up and says:
 
TITLE 79:	"Sure, Papa, I remembered it was your birthday. 
		See, I brought you a present too."
 
	He unwraps it, disclosing a prayer shawl.
 
233.	CLOSE-UP  CANTOR AND WIFE
	Sara is talking to him excitedly, telling him how wonderful that Jakie 
	should remember all these years, his papa's birthday. The cantor is 
	beginning to weaken under this assault. Sara leaves him for Jack.
 
234.	MED. SHOT  ROOM
	Sara goes over to Jack excitedly and takes the shawl from him. As she 
	sees it, there is just a second's change when she sees with dismay that 
	it is another prayer shawl. Her manner changes immediately to one of 
	excited delight. As Jack looks appealingly at his father, Sara holds up 
	the shawl for him.
 
235.	CLOSE-UP  SARA
	As she holds up the shawl, stroking its soft folds affectionately, she 
	says:
 
TITLE 80:	"See, Papa, just what you needed -- a nice new 
		prayer shawl."
 
	She starts toward him.
 
236.	MED. SHOT  GROUP
	Jack follows Sara to the side of the old man. He takes the shawl from 
	her and addressing his father says, almost tearfully:
 
TITLE 81:	"Many happy returns of the day to our cantor. 
		Ever hear that before when I was a little boy, 
		Papa?"
 
237.	CLOSE SHOT  GROUP 
	As the cantor stands impassively, Sara takes his arm and says to him:
 
TITLE 82:	"Look, Papa, Jakie is making you a speech, 
		like when he was a little boy on your 
		birthday."
 
	The cantor looks up as though from a reverie and, bowing in a dignified 
	manner, says: "Thank you." He makes no effort to take the shawl, which 
	Sara takes. She exclaims upon the fine weave and cloth, saying it is the
 	best one the cantor has ever had, etc. Jack grows more embarrassed as 
	the cantor shows no sign of relenting and shifts from one foot to 
	another. He finally looks away from his father to his mother and, taking
 	the cue from her, remarks:
 
TITLE 83:	"Sure, it's a good one -- the best money could 
		buy."
 
	The old man shows interest at this. He repeats the boy's words. There is
 	a question in his manner, or a conclusion, but seizing upon it as an 
	opening, Jack eagerly declares:
 
TITLE 84:	"Sure, Papa, I'm making plenty jack. And I'm 
		going to make more. Ain't many can put over a 
		Mammy song like me." 

	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.

256.	CLOSE-UP  JACK AND MARY
	He stands looking at Mary in a surprised manner as she comes into scene 
	and greets him. Jack is still speechless except for the first "Mary 
	Dale!" Mary takes his hand. He looks at her, then blurts out:

TITLE 93:	"Why, what are you doing here?" 

	Mary laughs mischievously as she asks him if he has any objections to 
	her being there. Jack in an embarrassed manner says that he only said 
	that because he was so surprised to see her. He says:

TITLE 94:	"Then you're in this show, too?" 

	Mary nods and says with mock modesty: 

TITLE 95:	"I'm merely the star, sir."

	She looks up at him and says with a smile:

TITLE 96:	"And you're to be the other star."
 
	Jack looks at her in a stunned manner. Gradually he solves the riddle: 
	it was Mary who was responsible for his summons to the big city -- the 
	great chance at last to shine on Broadway, every actor's ultimate goal. 
	He starts to blurt out his thanks. Mary stops him, then with a hurried 
	look around, she tells him to wait until later and they'll talk it all 
	over.
 
257. 	MED. SHOT  SAME
	Lee and Dillings come into the scene and Mary presents Jack to them. 
	Jack is somewhat embarrassed. He shakes hands perfunctorily with 
	Dillings but is rather more impressed by Lee. Dillings turns away after 
	the introduction, and Lee, trying to put Jack at his ease, asks him if 
	he will be ready for a rehearsal that evening. Jack nods.
 
258.	CLOSE-UP  JACK AND LEE
	Lee takes a part book out of his pocket and hands it to Jack and tells 
	him he will give him the songs later. He says to Jack:
 
TITLE 97:	"You've been very highly recommended -- but 
		we've only got one person's word for it that 
		you can deliver."
 
	Jack takes a step closer to Lee eagerly and tells him that he is sure 
	that he can make good. Lee nods rather ruefully and says:

TITLE 98:	"Well if you don't I'm sunk, because there is 
		only two weeks before the opening -- and 
		Dillings will be out a bunch of jack." 

	Back to scene. Jack again assures him eagerly.
 
259.	MED. SHOT  GROUP
	Mary and Dillings rejoin Jack and Lee. Mary's attitude toward Jack is so
 	friendly that Dillings looks askance at her. Mary and Jack start talking
 	about the last time they saw each other in Chicago. Dillings breaks in 
	on the conversation. Lee looks at his watch and walks away toward the 
	center of the stage.
 
260.	CLOSE SHOT  THREE
	Dillings turns to Mary and says that if she is ready he will take her to
 	dinner. Mary hesitates a moment, then after a quick look at Jack, she 
	turns to Dillings and says:
 
TITLE 99:	"I'm awfully sorry -- I just promised Mr. Robin 
		I'd have dinner with him -- I want to tell him 
		about the play."
 
	Dillings looks from one to the other and, with an inarticulate grunt of 
	disgust, he raises his hat grudgingly and stalks out of the scene. Jack 
	stands looking at Mary dumbly. She turns and smiles at him.

								LAP DISSOLVE INTO: 

261.	INT.CAFE  CLOSE-UP
	Jack and Mary are sitting in a corner of the cafe at a little table 
	facing each other. Mary is talking with animation. The waiter sets down 
	some dishes before them and exits. Mary finishes what she is saying and 
	Jack leans forward. He says:
 
TITLE 100:	"I can never -- if I live to be a million -- 
		ever thank you, Mary, for what you have done 
		for me."
 
	Mary holds up a hand in mock severity, much in the attitude of a traffic
 	cop halting an auto. She tells him to forget it. He says that he can't 
	and doesn't want to forget it. She is becoming embarrassed under his 
	earnestness. Finally he reaches over and takes her hand. Her eyes look 
	away from him. He leans over further and says half whisperingly:
 
TITLE 101:	"I suppose you think I'm out of my head, but 
		I--I'm crazy about you, Mary."
 
	Mary looks up and says promptly:
  
TITLE 102:	"I'm crazy about you, too."
 
	Jack looks at her then, a puzzled imploring look. He stammers out:
 
TITLE 103:	"You don't know what I mean." 

	Mary smiles and says, "What do you mean?" Jack takes a deep breath and 
	blurts out:

TITLE 104:	"I mean that I love you -- that I want to marry 
		you."

	Mary leans over. The smile leaves her face. She strokes his hand as she 
	says quietly:

TITLE 105:	"That is what I thought you meant."
 
	They lean over closely, looking into each other's eyes.

								FADE OUT

	FADE IN 

262.	CLOSE-UP  DILLINGS
	The camera is behind him and takes in part of his shoulder and hand 
	holding newspaper, without disclosing his identity.

								DISSOLVE INTO:
 
	Vignetted column section which reads as follows:
 
INSERT NEWSPAPER
 
		"April Follies," which will be the next musical 
		revue on Broadway, opens tomorrow night at the 
		Fulton with several newcomers making their bow 
		in New York. Heading the list will be Jack 
		Robin, recruited from vaudeville, who is 
		expected to prove a sensation, and Mary Dale, 
		the clever danseuse, a vaudeville headliner 
		early this season. Robin is said to have been 
		discovered by Miss Dale while singing in a 
		resort in San Francisco.

								DISSOLVE INTO:
 
263.	CLOSE-UP  DILLINGS FROM FRONT
	He is seated in a very luxuriously equipped office. He shows much 
	annoyance at what he has read. He crumples up the paper and throws it on
 	the floor. Then he hurls his cigar into a corner of the room. He pauses 
	a moment as though considering what to do and finally jumps to his feet.
 
264.	FULL SHOT  OFFICE
	Dillings goes quickly over to a hat tree, takes his coat and hat, and 
	exits hastily.
 
265.	INT. THEATER
 	With camera in fly gallery, unique shot may be had of chorus in action 
	on stage in the midst of a rehearsal. Mary Dale is doing her dance with 
	the chorus.
 
266.	CLOSE-UP  MARY
	She is seen as from the front in her dance.
 
267.  FULL SHOT  STAGE FROM WINGS
	The chorus closes in behind Mary in some evolution of the dance, as Jack
	and another player, both in costume, come into the foreground. As the 
	dance ends, they applaud heartily, and Lee, who has taken charge of the 
	last few rehearsals, motions from the side, dismissing them. The girls 
	troop off on the other side and Mary comes over to Jack.
 
268.	CLOSE-UP  JACK AND MARY 
	Jack is still applauding Mary as she, slightly out of breath from her 
	exertions, joins him. He takes her hands and tells her what a wonderful 
	dancer she is. Mary smiles in a deprecating manner and says:
 
TITLE 106:	"But it's you who will be famous tomorrow 
		night, Jack. It looks very much as though it 
		were your show. They're giving you everything."
 
	Jack makes a nervous, self-disparaging gesture. Then he comes closer to 
	her and says:
 
TITLE 107:	"If I'm the success all of you think I will be, 
		I will only have you to thank."
 
	Mary smiles and, without saying anything further, she presses his hand 
	and starts out of the scene toward her dressing room.
 
269.	FULL SHOT  STAGE
	As Mary leaves him, Jack turns around to look after her. He hesitates, 
	however, as he sees Lee and Randolph Dillings, a few steps away, follow 
	the girl with their eyes, then turn and look at him. Jack starts toward 
	them, then, seeing that they start talking earnestly together, he turns 
	the other way as though to go over on the other side of the stage. He 
	goes to the piano downstage.
 
270.	CLOSE-UP  LEE AND DILLINGS
	Dillings has finished saying something to him as Lee's jaw drops. He 
	looks at him in surprise and blurts out:
 
TITLE 108:	"You don't mean you'd take your money out of 
		the show the last minute?"
 
	Back to scene. Dillings nods firmly. Lee demands to know the reason for 
	this sudden determination. Dillings points in the direction of Mary's 
	room and then to Jack. He says:
 
TITLE 109:	"Just the idea of Mary's interest in this jazz 
		singer of yours."
 
	Back to scene. Lee starts to argue with Dillings, telling him that it is
 	nothing serious. Dillings, however, has guessed the true state of 
	affairs. He adds:
 
TITLE 110:	"I have no further interest in her career. Just 
		mail me a check today."
 
	He starts to leave.
 
271.	FULL SHOT  STAGE
	As Dillings leaves, Lee follows him, still eagerly trying to explain 
	that there is nothing between the two principals of the show. Just as he
	is about to exit, Mary comes from her dressing room and almost collides 
	with him. Lee rushes up to them and takes Dillings's arm. Jack, who is 
	at the piano, sees Mary and starts across stage toward the group.               

272.	MED. SHOT  GROUP
	Mary takes Dillings's arm, and he stops his progress somewhat 
	unwillingly. It is evident that he wishes to avoid a scene with Mary. 
	Before she can say anything, however, Lee says to Mary:
 
TITLE 111:	"He's taking his money out of the show on account of Jack."
 
	Dillings is growing more embarrassed. Mary looks at Lee, then at 
	Dillings, not understanding at first. Then she realizes the true 
	situation. She looks at Lee.
 
273.	CLOSE-UP  MARY AND LEE
	She smiles quietly and says to Lee:

TITLE 112:	"I suppose you would like to have me say that 
		I only regard Jack as a fellow performer."
 
	Lee nods eagerly. The smile does not leave Mary's face. She turns away 
	from Lee.
 
274.	CLOSE-UP OF THREE
	As Lee leans closer to hear her answer, Mary says to Dillings:
 
TITLE 113:	"Well, I'm sorry that I cannot -- or perhaps it 
		would be better to say that I am glad."
 
	Dillings nods in quiet acquiescence. Lee looks crestfallen. Mary puts a 
	hand affectionately on Lee's arm.

275.   MED. SHOT  GROUP	
	Dillings is raising his hat as he endeavors again to leave, just as Jack
 	comes into the scene. Jack goes up to Dillings and says "how do you do" 
	to him. The latter gives him a cold look of nonrecognition, bows again 
	stiffly to the other two, and exits, Jack looking after him in mock 
	dismay.

276.	CLOSE-UP  JACK 
	He looks at the other two and says ruefully:
 
TITLE 114:	"I just got a hunch that he don't like me -- 
		maybe he thinks I wear these clothes on the 
		street."

	He looks down at his trick suit.
 
277.	CLOSE SHOT  THREE
	Mary and Lee laugh at this sally, and as Jack joins them, Mary looks up 
	at Lee, her hand on his arm:
 
278.	CLOSE-UP  MARY
	She says to Lee:
 
TITLE 115:	"Does it mean that you are going to be in a fix 
		for money?"
 
279.	CLOSE-UP  THREE
	Lee pats the girl's hand. He hesitates, then says, "Oh, I'm always in a 
	fix for money." Mary is too much in earnest, however, to accept this 
	light dismissal of his difficulty. She looks up at him and says:
 
TITLE 116:	"If you need it, Mr. Lee, I have a few thousand 
		in the savings bank, and--"
 
	Lee stops her, telling her that she is a good kid and how much he 
	appreciates her offer, but he'll worry through all right. Jack is about 
	to say something, when the stage doorkeeper enters and addresses him. 
	Lee mops his brow in his nervousness and starts away from group. Mary 
	looks after him, reflecting his worry.
 
280.	CLOSE-UP  JACK AND DOORMAN
	He is telling Jack that there is a caller for him. Jack asks again what 
	the name is. The doorman says:
 
TITLE 117:	"Says his name is Bugelson, or something like 
		that, and he knew you when ... " 

	Jack breaks in on him, his face lighting up. He tells the doorkeeper to 
	show the man in. The doorman leaves.
 
281.	FULL SHOT  STAGE
	The chorus girls are trooping out on the stage from all sides for 
	another number when Yudelson is seen entering from the outer entrance.
 	He looks around puzzled, as he would be on a first visit to such a 
	place. He stops and looks around him, puzzled by the strange 
	surroundings.
 
282.	CLOSE-UP  YUDELSON
	He is dressed in his best Shabbas suit as befits the business head of a 
	prosperous congregation as well as a successful broker. He looks around 
	in a dazed way and his eyes fall on the girls of the chorus. He has 
	never seen that many bare knees in his life and his eyes bulge. He 
	starts in the direction of the stage where the girls are congregating, 
	in the manner of a man under a hypnotic spell.

283.	MED. SHOT  JACK
	Jack, who has been talking to Mary, spies Yudelson and starts toward 
	him. Mary goes to the stage opening.
 
284.	CLOSE-UP  GROUP OF GIRLS
	One of the girls in the center of the group is doing some high kicks and
 	the others are critically viewing her efforts.
 
285.	MED. SHOT  STAGE
	Yudelson walks right out on the stage where the girls are grouped, his 
	eyes fixed on the kicker's legs. Jack comes up to him and takes his arm,
 	and Yudelson comes out of his trance.
 
286.	CLOSE-UP  YUDELSON AND JACK  
	Yudelson exclaims with pleasure as Jack takes his hand and shakes it, 
	although he is still puzzled at Jack's appearance. He shakes his head as
 	he sees the changes that the years have wrought in the boy. He points to
 	the door and says:
 
TITLE 118:	"He didn't know who I mean by Jake Rabinowitz 
		-- I forget your mama told me you are now Jakie 
		Robin."
 
	Jack laughs and takes Yudelson's arm to walk him off the stage.
 
287.	FULL SHOT  STAGE
	As Jack and Yudelson walk toward camera, Lee calls for the rehearsal of
	another number and the girls start taking their positions. Yudelson, now
 	in the immediate foreground, turns around to get another look. Jack, 
	laughing, turns him back the other way, telling him that he's liable to 
	lose an eye if he doesn't look out. Yudelson pulls himself together. He 
	turns to Jack seriously as both stop just clear of the stage.
 
288.	CLOSE-UP  BOTH
	Yudelson tells Jack he has an important message for him. Jack looks at 
	him, a question in his eyes. Yudelson says:
 
TITLE 119:	"Tomorrow it is Yom Kippur and we want you 
		should sing 'Kol Nidre' in the temple."
 
	Jack looks at him in astonishment as Yudelson keeps talking about the 
	meeting of the committee and how he had held out for Jack, who looks at 
	him in surprise. He tries to interrupt several times but Yudelson 
	rattles on. Finally Jack takes his arm and stops him, asking what it's 
	all about. He says:

TITLE 120:	"But what's the matter with my father singing, 
		Mr. Yudelson?"
 
	Yudelson looks surprised, then says: "I forgot to tell you, your papa is
 	sick." Jack is alarmed at this. He asks how long he has been sick and if
	his illness is serious. Yudelson says:

TITLE 121:	"It's been two weeks -- since the day you was 
		there -- and he's got a good doctor -- Dr. 
		O'Shaughnessy from the Rockefeller Institute."

	Jack looks thoughtful.

289.	CLOSE-UP  JACK
	He is saying to himself: "Two weeks -- since the day I was there."
 
290.	CLOSE-UP  BOTH
	Jack looks at Yudelson as though weighing his request. Yudelson 
	continues with his arguments, saying that some of the committee were 
	against it, but he insisted because they all owed him money. As a final 
	argument he says to Jack, eagerly:
 
TITLE 122:	"It would be a fine surprise for your papa if 
		you sing."
 
	Jack shakes his head slowly. He says, "But he threw me out of the house 
	only two weeks ago." Yudelson nods and replies:
 
TITLE 123:	"Sure, he threw you out but a son's a son no 
		matter if he is thrown out twenty times by his 
		papa."
 
	Back to scene. Jack smiles at Yudelson's eagerness to overcome his 
	objections. He looks toward the stage, then turns to the old man, 
	shaking his head as he says, with an air of finality:
 
TITLE 124:	"But, Mr. Yudelson, our show opens tomorrow 
		night -- it's the chance I've dreamed of for 
		years -- I can't do what you ask."
 
	Yudelson shrugs his shoulders hopelessly and starts to turn.
 
291.	MED. SHOT  SAME
	As Yudelson turns, Mary comes into scene. Yudelson pauses and looks at 
	her. Jack, somewhat embarrassed as Mary looks from him to Yudelson, 
	introduces them. Yudelson gives her an admiring look. He gives Jack a 
	look of approval as though personally complimenting him on his good 
	taste. Realizing instinctively that the girl has some influence with 
	Jack, he tries to prevail on her to persuade Jack to do what he wants.
 
292.	CLOSE-UP  THREE
	Mary looks at Yudelson, then at Jack. The latter explains the situation.
 	Mary looks at Yudelson, full of sympathy but unable to help him. She 
	shakes her head as she tells him the impossibility of his wish coming 
	true. Yudelson shakes hands with Jack, then with Mary and turns to 
	leave.
 
293.	MED. SHOT  SAME 
	As Yudelson walks slowly away, Lee comes into the scene. He pauses and 
	looks toward the stage.

294.	CLOSE-UP  LEE
	He yells to the girls:
 
TITLE 125:	"Remember, dress rehearsal at two tomorrow -- 
		and I don't want anyone drifting in at five 
		after two."
 
	He turns to the others.
 
295.	CLOSE-UP  JACK AND MARY
	Jack is on the verge of tears and Mary pats his shoulder softly.

								FADE OUT
 
	FADE IN 

296.	LIVING ROOM  CANTOR'S HOME
	Yudelson is sitting in a rocking chair reading a Yiddish newspaper. Mrs.
 	Rubin is using a broom on the floor. She comes over to Yudelson and 
	starts to talk with him.
 
297.	CLOSE-UP  BOTH 
	The woman points to the bedroom door and asks Yudelson if he thinks the 
	cantor will recover. Yudelson affects a facetious manner in order to 
	cover up his grief. He says, flippantly:
 
TITLE 126:	"Am I a doctor or a riddle guesser you should 
		ask me such questions? I am worrying now about 
		who sings 'Kol Nidre' when Yom Kippur begins 
		tonight."
 
298.	MED. SHOT  SAME 
	Mrs. Rubin shakes her head sadly and continues her work. Seeing that he 
	is not observed, Yudelson takes out his handkerchief surreptitiously and
 	gives his eyes a furtive wipe. He looks toward the bedroom door in the 
	background as it opens, and a young woman in nurse's garb comes into the
 	room. Yudelson gets up and rushes to her with a question as to how the 
	cantor is getting along. She shakes her head, and Yudelson drops into 
	the chair as the nurse proceeds to the kitchen.
 
299.	INT. BEDROOM  FULL SHOT 
	Cantor Rabinowitz, pale and emaciated, is lying helplessly on the bed. 
	His eyes are open and are fixed on the figure of Sara who is busying 
	herself about the room. He motions feebly to her, and she hastens over 
	to his side. She sits in the chair at the bedside and leans over closely
 	to hear what he has to say, gently stroking his hand which she has 
	taken.
 
300.	CLOSE-UP  CANTOR AND WIFE
	He asks her to lean closer and as she does he starts to whisper to her.
 
301.	CLOSE-UP  CANTOR
	He looks at his wife pathetically. He says hesitatingly:
 
TITLE 127:	"It's Yom Kippur tonight -- the  first time in 
		forty-five years I didn't sing in the temple."
 
302.	CLOSE-UP  BOTH
	Sara pats his hand soothingly and tells him not to worry about that --
	that he will be well sooner if he doesn't worry. His eyes are in the 
	past, however, and he is not listening to her. He continues:
 
TITLE 128:	"It will be the first time in five generations 
		a Rabinowitz has not sung on the Day of 
		Atonement."
 
	He closes his eyes as he says this and is silent for awhile. Sara 
	continues stroking his hand.
 
303.	MED. SHOT  LIVING ROOM 
	Mrs. Rubin is again talking to Yudelson. He is trying to get her to quit
 	talking.
 
304.	CLOSE-UP  BOTH
	She leans over and, undismayed by his manner, she asks with many 
	gestures:
 
TITLE 129:	"But who will sing tonight in the cantor's 
		place?"
 
	Yudelson makes a gesture of repulsion. He waves her away with:
 
TITLE 130:	"You should let me worry about that -- I am the 
		chairman."
 
	He tries to read again. She asks him why they don't get Jakie back. He 
	ignores her and says:
 
TITLE 131:	"Anyhow, it won't be that croaker Levy who will 
		sing."
 
305.	FULL SHOT ROOM
	Mrs. Rubin hears a ring at the door and hurries to the entrance. 
	Yudelson gets up as Dr. O'Shaughnessy enters. He is a big husky, grey-
	haired Irishman, and he greets the two of them heartily, as one would 
	very old friends.
 
306.	INT.BEDROOM  CLOSE-UP
	The cantor still has his eyes closed, and Sara is stroking his forehead.
 	Without opening his eyes, he reaches up and puts his withered old hand 
	on that of hers. He opens his eyes and smiles wanly at her. Then he 
	says:
 
TITLE 132:	"I been dreaming Jakie came back to sing 'Kol 
		Nidre'--"
 
307.	CLOSE-UP  CANTOR 
	He pauses a moment, then continues:
 
TITLE 133:	"Maybe God would forgive him -- if he would 
		come tonight and sing."
 
	He closes his eyes.
 
308.	CLOSE-UP  BOTH
	Sara looks startled as the idea comes into her mind of getting Jakie. 
	She removes her hand and looks down to measure the possible effect of 
	her departure.
 
309.	FULL SHOT  ROOM 
	As Sara is nervously considering her next step, the door opens and the 
	doctor enters, solving Sara's problem for the moment. She tells the 
	cantor that the doctor is here and that she will go away for a little 
	while. The nurse follows the doctor into the room and Sara exits.
 
310.	INT. LIVING ROOM
	As Sara enters, she goes hurriedly to Yudelson. Mrs. Rubin comes over 
	hastily in fear of losing a word.
 
311.	CLOSE-UP  GROUP
	Sara tells Yudelson that she is going to get Jakie. The latter tells her
 	it's no use, but she is insistent, and he agrees to go along. Sara tells
 	Mrs. Rubin to remain there until they return.
 
312.	INT.BEDROOM  MED. SHOT
	The doctor is leaning over the sick man, listening to his heart with a 
	stethoscope. The cantor's eyes are closed. The nurse stands at the side 
	of the doctor. He raises up, folds the stethoscope, and looks at the 
	nurse. They exchange a look which both understand as leaving little hope
 	for the life of the cantor.

								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 
		nigger."
 
	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."

	He gives her a pleading look.
 
331.	FULL SHOT  ROOM
	Gene, the stage manager, comes to the door and summons Jack. He starts 
	to get up and Sara clings to him. Mary enters again, worried about Jack.

332.	CLOSE-UP   GENE
	He says to Jack that the orchestra is already playing his introduction.
 
333.	CLOSE-UP  JACK AND MOTHER 
	He unfastens her hands gently from him. He tells her that he must go on 
	the stage and tells her to wait.
 
334.	MED. SHOT  ROOM 
	Jack starts out of the room with his mother's last plea ringing in his 
	ears. Mary goes to her and puts her arm around her. Yudelson follows 
	Jack out curiously.
 
335.	FULL SHOT  STAGE FROM FRONT 
	The chorus is lined up looking toward entrance at which Jack is 
	expected. The orchestra is playing the introduction to his song as he 
	enters. He speaks the few lines which serve as an introduction to his 
	song and then begins singing it.
 
	NOTE: The rendition of the song will have to be governed entirely by the
 	Vitaphone routine decided upon. The scenes herewith are only those 
	necessary to carrying on the story. In all scenes before he exits, the 
	voice of Jack is heard in volume according to the distance from him.

336.	CLOSE-UP  JACK
	He goes into the first bars of his song.
 
337.	MED. SHOT  OUTSIDE ROOM
	Yudelson and Sara are watching through the wings, but back in the 
	passage leading to the outside door. Mary asks Mrs. Rabinowitz if she 
	doesn't want to go closer. She points to the stage but the mother shakes
	her head.
 
338.	CLOSE-UP YUDELSON 
	He is listening, an ear cocked stageward. He nods as he says, half to 
	himself:

TITLE 148:	"Yes, that's Jakie -- with the cry in the 
		voice, just like in the temple." 

	He looks away hurriedly.
  
339.	MED. SHOT  YUDELSON
	Two girls in very scant attire make him forget Jack for the moment as 
	they pass close to him. He looks after them in a daze and starts to 
	follow them.
 
340.	FULL SHOT  PASSAGE 
	Mary still has an arm around Sara. The latter, overcome by emotion, 
	starts for the door. Mary tries to hold her because of Jack.
 
341.	CLOSE-UP  BOTH
	As Mary endeavors to persuade Sara to remain, Sara tearfully says that 
	she must go. She turns to Mary and says, hopelessly:
 
TITLE 149:	"Here he belongs -- If God wanted him in His 
		house, He would have kept him there." 

	Mary nods understandingly. Sara starts for the door.
 
342. 	FULL SHOT  SAME
	Mary starts with Sara. Yudelson suddenly sees them going toward the 
	door. He looks after the two girls who had attracted his attention, as 
	though not knowing which to follow, then reluctantly follows Sara. In 
	the doorway Mary leans over and kisses Sara. The latter grasps the 
	girl's arms eagerly.
 
343.	CLOSE-UP  MARY AND SARA 
	The mother says to her:
 
TITLE 150:	"Tell him maybe he can see his papa anyhow 
		before it is too late."
 
	Mary nods and Sara exits. Mary looks after her sorrowfully.
 
344.	MED. SHOT  STAGE
	Jack is singing.
 
345.	CLOSE-UP  LEE AND GENE
	They are standing in the wings. They look at each other in speechless 
	admiration of Jack's singing.
 
346.	LONG SHOT  THROUGH WINGS 
	Jack finishes song and makes exit. As he comes into foreground, he is 
	surrounded by Lee, Gene, Mary, and several of the other principals. They
 	grab his hands and congratulate him. He smiles gratefully.
 
347.	CLOSE-UP  JACK AND LEE 
	The latter is enthusiastically pumping Jack's hand as he says:
 
TITLE 151:	"Wonderful, Jack!! You were actually crying. Do 
		it that way tonight and you're a hit on 
		Broadway!"
 
	He drops Jack's hands and turns to Gene with instructions for the next 
	act.
 
348.	MED. SHOT  OUTSIDE DRESSING ROOM
	Those surrounding Jack fall away from him as Mary goes to him. She takes
 	his hand and shakes it. She pantomimes that his mother has gone. Then 
	she turns and leaves. Jack wipes a white glove across his eyes, leaving 
	a white streak on his damp face. He comes slowly toward the camera and 
	enters the door of his dressing room.
 
349.	MED. SHOT  ROOM
	Jack goes slowly to one of the chairs in the room, drops heavily into 
	it, and then leans over and puts his blackened face into the white 
	gloves.

								SLOW FADE OUT
 
	FADE IN 

350.	CHOIR ROOM SYNAGOGUE
	Yudelson is presiding at a meeting of the synagogue trustees. He is 
	seated at the head of the little cheap table with a very important air. 
	There are four others, all in their holiday clothes. One is Levy, the 
	Shammas, or sexton, a little scrawny fellow with a straggling beard. Two
 	others have the long orthodox beards, and the fifth member of the 
	committee is clean-shaven, a prosperous Jewish businessman. Yudelson 
	says something and they all start talking at once. Levy finally attracts
 	the attention of Yudelson. He gets up and tries to speak. Yudelson 
	endeavors to quiet him, but Levy is insistent.

351. 	CLOSE-UP  LEVY
	He holds out both hands pleadingly, as he says:
 
TITLE 152:	"Gentlemen, I think it should be me who should
		sing in the cantor's place. I--"
 
352.	CLOSE SHOT  TABLE 
	Yudelson interrupts him, pounding on the table and ordering him to sit 
	down. He insists that he is chairman and must be listened to.
 
353.	CLOSE-UP  YUDELSON
	He yells out at Levy:
 
TITLE 153:	"Do you think, schlemiel, our congregation paid 
		for special music to hear you squawking like a 
		tomcat yet?"
 
	He glares at Levy.
 
354.	CLOSE SHOT  GROUP 
	Levy subsides with a beaten gesture. His lifelong wish to sing "Kol 
	Nidre" has been dashed to the ground. Yudelson continues rubbing it in.
 
355.	CLOSE-UP  YUDELSON
	He says, still glaring at Levy and desiring to rub it in:
 
TITLE 154:	"Our beloved cantor is very sick next door -- 
		if he hears you singing, he dies sure."
 
356.	CLOSE SHOT  GROUP
	They all start arguing, and Yudelson takes out his watch and tells the 
	committee that the meeting is over. They surround him and bombard him 
	with questions as to who is going to sing. He throws up his hands 
	hopelessly and starts out of the door, just as the boys of the choir 
	start arriving.
 
357.	RABINOWITZ LIVING ROOM 
	Sara is sitting in the rocking chair, rocking slowly back and forth. Her
 	eyes are swollen with crying. Her grief has reached the bottom-most 
	depths. Every few moments she looks toward the bedroom door as though 
	expecting some message from the sick chamber.
 
358.	CLOSE-UP  SARA
	As she rocks slowly. She looks toward the bedroom, then suddenly wipes 
	her eyes and gets up.
 
359.	FULL SHOT  ROOM
	The nurse is just coming out of the door. Sara goes toward her, but the 
	nurse motions for silence as Sara reaches her side.
 
360.	CLOSE-UP  NURSE AND SARA 
	The nurse whispers to her:

TITLE 155:	"He's asleep."
 
	Sara turns to resume her chair as the nurse goes toward the kitchen.

361.	EXT. HOUSE
	A taxicab drives up quickly, and before it stops Jack is out of the 
	door. He pays the driver and dashes up the steps. Jack is dressed for 
	the street in well-tailored but quietly styled clothes. He rings the 
	bell.
 
362.	CLOSE-UP  AT DOOR
	The door is opened and Sara appears. She looks at Jack in surprise, then
 	throws her arms around him saying: 

TITLE 156:	"You come to sing, Jakie? You come to sing?"

	Jack shakes his head saying, "I come to see Papa." They go into the 
	house.
 
363.	EXT. SYNAGOGUE
	The doors are open and there is a steady stream of people entering, 
	Jews, old and young, bearded and clean-shaven, women in shawls and 
	stylish street attire. Occasionally a fine automobile drives up and a 
	prosperous family gets out, while the liveried chauffeur holds open the 
	door. Yom Kippur is about to begin, the one holiday of the year when 
	even the least orthodox Jews think of their religion. It is approaching 
	sundown and the sinking orb is casting long shadows into the East Side 
	street.
 
364. 	INT.HOUSE  FULL SHOT  LIVING ROOM
	Jack and his mother are standing in the middle of the floor, talking to 
	the nurse. The nurse is shaking her head.
 
365. 	CLOSE SHOT  GROUP
	The nurse says as she shakes her head that Dr. O'Shaughnessy would not 
	want the sick man's sleep disturbed. Jack pleads with her.
 
366.	CLOSE-UP  JACK
	He takes the nurse's arm pleadingly and says: 

TITLE 157:	"I'll be awful quiet -- I just want to look at 
		him."
 
367.	CLOSE-UP  GROUP 
	The nurse finally succumbs to Jack's eloquent pleading and starts over 
	toward the bedroom door, followed by Jack and his mother.

368.	MED. SHOT  GROUP
	They reach the door. The nurse cautions Jack to be very quiet as she 
	slowly opens the door. She motions for Sara to remain behind. Sara 
	bursts into tears as she turns away. Jack enters and the nurse closes 
	the door softly behind him.

369.	FULL SHOT  BEDROOM
	The old cantor is lying with his eyes closed as Jack enters on tiptoe. 
	He walks very quietly over to the bed where he stands for a moment, then
 	he drops down to his knees beside the bed and gives way to his grief.
 
370.	CLOSE-UP  JACK AND CANTOR 
	Jack, with eyes streaming, puts out a hand to touch that of his father, 
	then, fearing that he will wake him with serious results, he withdraws 
	his hand. His shoulders are shaking convulsively with suppressed sobs, 
	and he suddenly buries his face in his hands, which are resting on the 
	bed. The old man's eyelids flutter for a moment. His eyes slowly open 
	and he looks over and sees the bowed head of his son.
 
371.	CLOSE-UP  CANTOR 
	There is just the faintest flicker of a smile on the wan face of the 
	dying man. With an effort he slowly moves his hand over until it rests 
	on Jack's head in an unspoken blessing. Jack's hands come up and grasp 
	that of his father.
 
372.	CLOSE-UP  JACK AND FATHER
	With a sudden impulsive gesture Jack grasps the hand of his father and 
	kisses it. Then the old man's eyes close and Jack looks suddenly around 
	to the door.

373.	CLOSE-UP  NURSE AT DOOR 
	She is motioning for Jack to come out. As she does, the figure of the 
	doctor appears behind her.

374.	FULL SHOT  ROOM  
	As the doctor enters, Jack goes to the door. He grasps the doctor's hand
 	and the doctor greets him heartily, though quietly. Jack points to the 
	bed in mute inquiry. The doctor says, quietly: "I'm afraid not." He goes
 	toward the bed and Jack with streaming eyes starts slowly out of the 
	room.
 
375.	EXT. HOUSE
	It is now almost dark and lights are beginning to flicker. A taxicab 
	drives up hurriedly and Mary and Lee get out of it. Lee tells the driver
 	to wait for them. Mary by this time is looking at the number to verify 
	the place. They hurry up the steps and Mary rings the bell.
 
376.	INT. LIVING ROOM  FULL SHOT
	Yudelson and Mrs. Rabinowitz are standing at the door of the bedroom as 
	the bell rings. Sara tells Yudelson to go to the door. As he starts for 
	it, the door of the bedroom opens and Jack, wiping his eyes, comes 
	slowly out and into his mother's arms.
 
377.	MED. SHOT  AT DOOR 
	Yudelson admits Mary and Lee. They both ask at once for Jack, and as 
	they see him they go quickly toward him.
 
378.	CLOSE-UP  JACK AND MOTHER
	Jack's attention is attracted by the newcomers. He looks at them in 
	surprise and half pushes his mother away to greet them. He is still in a
 	daze but realizes the nature of their mission.
 
379.	MED. SHOT  GROUP
	Mary and Lee each take one of Jack's hands and ply him with questions as
 	to what he is going to do. Yudelson and Sara exchange significant 
	glances.
 
380.	CLOSE-UP  DOOR
	Levy the Shammas enters hurriedly.                                                 
 
381.	FULL SHOT  ROOM
	Levy enters and goes quickly to Yudelson. He tells him that the 
	congregation is waiting for the services to begin and suggests that he 
	be designated to sing.
 
382.	CLOSE-UP  TWO MEN
	Yudelson greets this suggestion angrily. He yells at Levy: 

TITLE 158:	"You don't sing -- even if I got to do it 
		myself."
 
	Back. In a crestfallen manner, Levy retires. Yudelson stands and looks 
	at the others speculatively. Then a determined look comes over his 
	features.
 
383.	FULL SHOT  ROOM
	As Jack argues with Lee and Mary, Sara enters the group. She begs Jack 
	to sing, for the sake of his father. Yudelson walks to the side of the 
	room and takes the cantor's praying shawl and skull cap which are 
	hanging up. He carries them over to Jack and holds them in front of him.

384.	CLOSE SHOT GROUP 
	With Yudelson and his mother on one side and Lee and Mary on the other, 
	Jack is besieged by the old life and the new, filial duty against his 
	life's ambition, the past against the future. He stands staring from one
 	to the other.
 
385.	CLOSE-UP LEE 
	He holds out his hands appealingly. He says:
 
TITLE 159:	"You can't throw away this one great chance, 
		Jack -- the house sold out -- and it will ruin 
		me too! "
 
	He looks to Mary for help.

386.	CLOSE SHOT  GROUP
	Mary adds her entreaties to those of Lee, while Sara takes the shawl and
 	cap from Yudelson and holds them out to Jack mutely. Jack looks slowly 
	from Mary to mother, then he stares ahead as though trying to pierce the
 	curtain of the future.

								FADE OUT

	FADE IN

387.	THEATER LOBBY  NIGHT
	People in evening clothes are passing into the brilliantly lighted 
	lobby. There is a line at the box office. In the center of the lobby are
 	two large easels containing photographs. Several persons pause before 
	them.

388.	CLOSE-UP  EASELS
	One of the easels contains a full-length portrait of Mary Dale in ballet
 	costume and the other a full-length portrait of Jack Robin in blackface.
 	There is a couple standing beside it, and the man says to the woman that
 	this fellow will be the hit of the town. They pass in.
 
389.	MED. SHOT  LOBBY
	The people are still passing into the lobby.
 
								DISSOLVE INTO:
 
###.	INT. THEATER
	It is a shot from about the center of the audience showing the front 
	part of the house filled with people in evening dress. Several late 
	arrivals enter. The orchestra has presumably just finished the overture 
	when a man in tuxedo steps from behind the curtain at one side of the 
	stage. He walks onto the apron and starts making an announcement.
 
390.	CLOSE-UP  MAN 
	He says that he regrets to announce that because of some unforeseen 
	occurrence, the plans for opening the "April Follies" have had to be 
	changed at the last moment, and he adds:

TITLE 160:	"The unfortunate accident to our chief 
		comedian, Mr. Jack Robin, occurred too late to 
		fill his place. We hope that you will 
		pardon ..."
 
	He continues the announcement, finishes, then bows and makes his exit.
 
391.	FULL SHOT  THEATER FROM STAGE
	The people in the theater are getting up and leaving.
 
								FADE OUT
 
	FADE IN 

392.	FULL SHOT  CANTOR'S BEDROOM
	The doctor is at the bedside of the dying man. At the other side sits 
	Sara, while the nurse is busy at a nearby table. Sara realizes that the 
	end is near, and she is holding the hand of the old man as she weeps 
	quietly.
 
393.	CLOSE-UP  BED
	The cantor is lying on his back with eyes closed. Just the outline of 
	Sara is visible. (Vitaphone of singing starts very dimly as though from 
	the synagogue next door. As the sound increases in volume, the voice of 
	his son comes into the wailing higher notes of "Kol Nidre.") The old 
	man's eyes open slowly. The misty look slowly clears and, as he 
	recognizes the voice, he looks about him rather wildly. Slowly 
	realization comes to him that his last earthly wish has been granted. 
	With a glorified smile on his face, he mutters: "It's my Jakie." He 
	starts to raise himself slowly. He looks toward the window.
 
394.	FULL SHOT  ROOM
	As the cantor slowly raises his shattered body, the doctor, anticipating
 	his wish, goes quickly to the window and raises it. (Music of singing 
	becomes much louder.)
 
395.	CLOSE-UP  CANTOR
	He is raising himself until he is almost sitting up in bed, Sara's arm 
	behind him, helping him. He lifts his eyes to heaven and his lips move 
	in a prayer. Then his eyes close and he falls slowly back to the pillow.
 	The end has come, and Sara throws herself across his body in a paroxysm 
	of grief.
 
396.	FULL SHOT  SYNAGOGUE 
	With the camera in back of place, Jack, with prayer shawl and skullcap 
	on, can be seen with back to congregation. The choir boys are lined up 
	on either side of him, facing the center. His voice is now loud and 
	clear.
 
397.	CLOSE-UP  JACK
	He is singing, with eyes half closed, one of the wailing passages from 
	the "Kol Nidre."

398.	INT. LIVING ROOM  MED. SHOT
	Mary and Lee stand listening. In the background the doctor and nurse 
	come quietly out of the bedroom door. The nurse goes to the back of the 
	house. The doctor pauses and looks at the two listeners, then quietly 
	goes to the front door.
 
399.	CLOSE-UP  MARY AND LEE
	They are still listening as though spellbound. As the volume increases, 
	they look from one to the other wonderingly. Lee says in an awe-stricken
 	voice:
 
TITLE  161:	"You are listening to the stage's greatest 
		blackface comedian singing to his God."
 
	He looks to Mary for a solution of his problem. Her face lights up as 
	Lee shrugs his shoulders in a gesture of resignation, and she says:

TITLE 162:	"Listen. Don't you understand? It's his last 
		time in there. He has to come back to us."
 
	Lee looks at her in a puzzled manner, then nods.
 
400.	INT. SYNAGOGUE  CLOSE-UP  JACK
	He is singing an exceptionally sorrowful passage of the "Kol Nidre."

401.	MED. SHOT  JACK
	As he comes to the closing notes of the song, the figure of the old 
	cantor in his synagogue robes appears on the side of the screen very 
	faint and shadowy. The misty form slowly comes to the side of the 
	singer. It pauses. There is a smile on the face of the old cantor as he 
	slowly raises his hand in a blessing. The shadowy figure becomes fainter
 	and fainter, finally disappearing, leaving Jack standing alone. The 
	music and his figure slowly

								FADE OUT



				THE END







Screenplay by Alfred A. Cohn







========================BONUS ITEM==========================
				
Dialogue transcript of scene 224 from the finished film:

After an emotional reunion with his mother, Jack tells her about his big 
break and sings and plays for her Irving Berlin's "Blue Skies," the song 
he's going to do in the show. After one chorus, Jack turns from the piano 
and speaks to his mother. Throughout this exchange her replies and 
protestations are heard very faintly and indistinctly. 
 
				JACK
		Did you like that, Mama? 

				MOTHER
		Yes.
 
				JACK
		I'm glad of it. I'd rather please you than 
		anybody I know of. Oh, darlin', will you give 
		me something? 
 
				MOTHER
		What?
 
				JACK
		You'll never guess. Shut your eyes, Mama. Shut 
		'em for little Jakie. Ha. I'm gonna steal 
		something. 
			(Kisses her. She titters.) 
		Ha, ha, ha, ha. I'll give it back to you some 
		day, too, you see if I don't. Mama, darlin', 
		if I'm a success in this show, well, we're 
		gonna move from here. Oh yes, we're gonna move 
		up in the Bronx. A lot of nice green grass up 
		there and a whole lot of people you know. 
		There's the Ginsbergs, the Guttenbergs, and the 
		Goldbergs. Oh, a whole lotta Bergs; I don't 
		know 'em all. And I'm gonna buy you a nice 
		black silk dress, Mama. You see Mrs. Friedman, 
		the butcher's wife, she'll be jealous of you. 

				MOTHER
		Oh no--

				JACK
		Yes, she will. You see if she isn't. And I'm 
		gonna get you a nice pink dress that'll go 
		with your brown eyes. 

				MOTHER
		No, Jakie, no. I-I-I-

				JACK
		What? Whatta you mean, no? Who is -- who is 
		telling you? Whatta you mean, no? Yes, you'll 
		wear pink or else. Or else you'll wear pink. 
			(He laughs.) 
		And, darlin', oh, I'm gonna take you to Coney 
		Island. 

				MOTHER
		Yeah?

				JACK
		Yes, I'm gonna ride on the Shoot-the-Chutes. 
		An' you know in the Dark Mill? Ever been in 
		the Dark Mill? 

				MOTHER
		Oh, no. I wouldn't go ...

				JACK
		Well, with me, it's all right. I'll kiss you 
		and hug you. You see if I don't. 
			(Mother starts blushing.) 
		Now Mama, Mama, stop now. You're gettin' 
		kittenish. Mama, listen, I'm gonna sing this 
		like I will if I go on the stage. You know, 
		with this show. I'm gonna sing it jazzy. Now 
		get this ...
 
Jack launches into a few more lines of the song. He bangs at the 
keyboard with his right hand and turns to his mother.

				JACK
		Do you like that slappin' business?

As he is singing the next part, his father enters in the background and 
cries out:

				FATHER
		Stop!

And the music (and the dialogue) stops ...
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