The Project Gutenberg eBook of The Jazz Singer This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. Title: The Jazz Singer Author: Samson Raphaelson Release date: March 8, 2022 [eBook #67583] Most recently updated: October 18, 2024 Language: English Original publication: United States: Brentano's Credits: Ronald Grenier (This file was produced from images generously made available by the Hathi Trust) *** START OF THE PROJECT GUTENBERG EBOOK THE JAZZ SINGER *** THE JAZZ SINGER BY SAMSON RAPHAELSON (Based on his story, “The Day of Atonement,” in _Everybody’s Magazine_, January, 1922.) NEW YORK BRENTANO’S PUBLISHERS Copyright, 1925, by SAMSON RAPHAELSON All rights, including stage, motion picture, and amateur production, are reserved. No performance or public reading may be given without the written consent of the author, or his recognized agents. Application should be made to the author, in care of his publishers. _Printed in the United States of America_ To Albert Lewis _A gentleman from the East Side and a scholar from Broadway_ _FOREWORD_ I wish to express my gratitude to Albert Lewis, who directed and produced “The Jazz Singer” and who, in the long hours of many days and nights, gave values to the play and stage wisdom to me which I hope never to forget; to Stuart Sherman, who encouraged me when my faith lagged; and to the members of the cast, especially George Jessel and Sam Jaffe, for the many happy touches they have contributed. Samson Raphaelson. _PREFACE_ American life, in this year 1925, consists essentially of surfaces. You may point out New England communities and say here is depth, and I will answer, true, but New England is dead so far as the America of now is concerned. You may show me an integrity in the West where a century ago pioneers came, and I will answer, that integrity resides with the elders and not with the mightier young ones. He who wishes to picture today’s America must do it kaleidoscopically; he must show you a vivid contrast of surfaces, raucous, sentimental, egoistical, vulgar, ineffably busy—surfaces whirling in a dance which sometimes is a dance to Aphrodite and more frequently a dance to Jehovah. In seeking a symbol of the vital chaos of America’s soul, I find no more adequate one than jazz. Here you have the rhythm of frenzy staggering against a symphonic background—a background composed of lewdness, heart’s delight, soul-racked madness, monumental boldness, exquisite humility, but principally prayer. I hear jazz, and I am given a vision of cathedrals and temples collapsing and, silhouetted against the setting sun, a solitary figure, a lost soul, dancing grotesquely on the ruins.... Thus do I see the jazz singer. Jazz is prayer. It is too passionate to be anything else. It is prayer distorted, sick, unconscious of its destination. The singer of jazz is what Matthew Arnold said of the Jew, “lost between two worlds, one dead, the other powerless to be born.” In this, my first play, I have tried to crystallize the ironic truth that one of the Americas of 1925—that one which packs to overflowing our cabarets, musical revues and dance halls—is praying with a fervor as intense as that of the America which goes sedately to church and synagogue. The jazz American is different from the dancing dervish, from the Zulu medicine man, from the negro evangelist only in that he doesn’t know he is praying. I have used a Jewish youth as my protagonist because the Jews are determining the nature and scope of jazz more than any other race—more than the negroes, from whom they have stolen jazz and given it a new color and meaning. Jazz is Irving Berlin, Al Jolson, George Gershwin, Sophie Tucker. These are Jews with their roots in the synagogue. And these are expressing in evangelical terms the nature of our chaos today. You find the soul of a people in the songs they sing. You find the meaning of the songs in the souls of the minstrels who create and interpret them. In “The Jazz Singer” I have attempted an exploration of the soul of one of these minstrels. Samson Raphaelson. New York, October, 1925. _CAST OF CHARACTERS_ Cast of characters in the first production of “The Jazz Singer,” by Lewis and Gordon in association with Sam H. Harris at the Fulton Theatre, New York City, Sept. 15, 1925. CANTOR RABINOWITZ _Mr. Howard Lang_ MOEY _Mr. George Shafer_ SARA RABINOWITZ _Miss Dorothy Raymond_ YUDELSON _Mr. Sam Jaffe_ JACK ROBIN _Mr. George Jessel_ CLARENCE KAHN _Mr. Robert Russel_ GENE _Mr. Ted Athey_ EDDIE CARTER _Mr. Barney Fagan_ HARRY LEE _Mr. Arthur Stewart Hull_ MARY DALE _Miss Phoebe Foster_ RANDOLPH Dillings _Mr. Robert Hudson_ MISS GLYNN _Miss Mildred Leaf_ FRANKLYN FORBES _Mr. Paul Byron_ A STAGE DOORMAN—JIMMY _Mr. Tony Kennedy_ LEVY _Mr. Nat Freyer_ SIX CHORUS GIRLS _Misses Mildred Jay, Ruth Holden, Eleanor Ryan, Mildred McDonough, Viola Thomas, Betty Wilton, Rita Crane_ A SCENE SHIFTER _Mr. Jack Hill_ DOCTOR O’SHAUGHNESSY _Mr. Tony Kennedy_ THE JAZZ SINGER _SYNOPSIS OF SCENES_ ACT I—_The home of the Cantor on the East Side. The_ 14_th of August, afternoon._ ACT II SCENE 1—_About a month later. Back-stage at the Fulton Theatre, New York._ SCENE 2—_A few minutes later. Jack’s dressing room._ ACT III—_Same as Act I. A few hours later._ ACT ONE SCENE: _It is the flat of Cantor Rabinowitz in the heart of the East Side of New York. We see a rather large living room with a curious mixture of furniture and crockery. The Cantor lives in better style than most of his neighbors. The furniture is massive, elaborate, of fine wood, the kind of furniture a wealthy Jew in Russia would be likely to have. Everywhere there are shelves loaded with bric-a-brac—china, glassware and silver._ _There are two windows through which can be seen the stained glass windows of the synagogue next door. There is a phonograph, a sideboard, a settee, a bookcase, a Morris chair. On the wall are pictures, including one of an old-fashioned Russian Jew, one of the Cantor, one cheap chromo showing some kittens, and the framed citizen papers of the Cantor._ AT RISE: _Before the curtain rises we hear a boyish treble sweetly singing an old Hebrew cantor tune. As the curtain rises, we see little Moey and the Cantor seated at the table. The Cantor is a lean man of medium height. He has a neatly trimmed, grayish beard and is wearing a skull-cap. His face is wrinkled, gentle, austere. He is a holy man among a humane people—and all which that implies. He knows the ways of kindliness, but the spirit in him is stern with following the God of Vengeance for sixty years._ MOEY _is singing._ CANTOR [_Stops him_]. No, no, no! Didn’t I tell you how you should sing it? Sing it with a sigh. Do you understand, my child? With a sigh! You are praying to God. Nu, try it again. [MOEY _tries again, and again is stopped by_ CANTOR.] No—do you understand what it means, them words you are singing? What does “Vaanee Sefeelosee” mean? MOEY It means, “I, my prayer.” CANTOR And what means “Lecho Adoshem”? MOEY That means, “To you, O God.” CANTOR Good! And what does it mean, “Ais Rutzon Elohim”? MOEY “When you are ready, O God.” CANTOR That’s right. You’re a smart boy, Moey. Now what does it mean “Berov Chasdecho Aneni Be-emes Yishecho”? MOEY [_Hesitates_]. I don’t know what that means. CANTOR Is _that_ nice? A smart boy like you what has the most beautiful voice in the choir? You will never learn to sing until you know what the words mean. Now, listen, Moey. This is what it means. “I offer my prayer to you, when you are ready, O God, with your multitudes of benedictions—answer me, O God, with truth, and help me.” Sing it again, Moey. [MOEY _begins to sing again. The_ Cantor _rises, impatiently. He is irritated with_ MOEY, _yet he has forgotten the child. He speaks more to himself than to_ MOEY.] No, no! Oh, I wish I had my Jakie here. He could show you how to sing it. The words he understood even when he was a little boy smaller than you. And a voice he had like an angel. MOEY Why did Jakie run away from home? CANTOR [_Pause_]. Who said.... Where did you heard that? MOEY Gee, everybody knows that ... all the boys in the choir.... CANTOR Sometimes little boys know too much, Moey. Sometimes little boys think they know more than their papas. MOEY [_Rises_]. I’m hungry. Can I go home now, Cantor? My mama told me to come home early tonight for supper. CANTOR You shouldn’t speak from supper, Moey, when we are speaking from God. MOEY Can I help it? I’m hungry. CANTOR [_Craftily_]. In the kitchen we got nice cookies. MOEY Cookies? What kind? CANTOR With raisins in them. MOEY Oh, I like them. Can I have some? CANTOR Certainly, my child, but sing first. [MOEY _picks up the prayer book and sings the melody conscientiously and beautifully. He sings it straight through to the end. There is a quality of plaintiveness in this rendition which pleases the_ Cantor. _As_ MOEY _is singing,_ SARA _enters from the kitchen, a small brass chopping bowl in her hand. She pauses until the boy finishes._ SARA _is a small woman, thin, tense, with large, vivid black eyes and gray hair parted neatly and drawn back in a knot. She wears an apron over a black and white dotted voile dress. The_ Cantor _speaks with delight._] CANTOR Ain’t that beautiful, Sara? SARA It’s very nice the way you sing, Moey. I’m going to tell your mama what a good boy you are. MOEY You bet I am. Can I have some of your raisin cookies, Mrs. Rabinowitz? SARA Raisin cookies? CANTOR I promised Moey he could have some if he sang nice. SARA They ain’t ready yet. CANTOR Well, you come back in an hour, Moey. Then they’ll be ready. SARA Yes, go my child. I’ll keep a whole lot of cookies warm for you. MOEY [_Takes prayer boot_]. Thank you, Mrs. Rabinowitz. SARA You’re welcome. Give my love to your mama. MOEY [_Moves to door_]. Thank you. Goodbye. I won’t eat much at home. [_He goes._] CANTOR He’s a willing boy, Sara, and it’s a pleasure to hear him singing in the choir. And his papa, peace be with him, was a rabbi. Maybe from Moey I can make yet a Cantor.... Yes.... [_Sits._] From him I will make a great Cantor. SARA [_Casually, with a prosaic little sigh_]. It seems like yesterday our Jakie was standing the same way—a little boy—a darling—and you was learning him to sing. CANTOR Sara, I asked you a thousand times, don’t speak his name in my house. You know what it does to me. SARA I heard you from the kitchen—you spoke it yourself to Moey. CANTOR Well, Moey and me—we was singing and—well, I made a mistake. SARA A mistake? A papa should speak from his only son one time in five years—that’s a mistake? CANTOR It’s so long since I found a boy with a voice like Moey.... I forgot myself. SARA Our Jakie had a voice even more beautifuller—even before he ran away— CANTOR Sara, please—it ain’t good that we should think too much about that boy. He didn’t think of us.... God knows if he’s maybe now in jail or not. SARA How can you speak like this from your only child? I tell you he’s a good boy and he ain’t in jail. In the last letter he wrote, he said.... CANTOR I don’t want to know from his letters. SARA But he’s got a good steady job. In Chicago. CANTOR What’s the matter with you today? Maybe _you_ could forget what he done. I can’t.... [_Until now the mood has been conversational, although strong emotions have been strumming underneath. Now the_ Cantor _rises, and his voice betrays the intensity of his feeling._] The Day of Atonement.... A crowded synagogue.... So proud we was! Why not? Everybody waiting to hear the Cantor’s son sing. And where was he?... You said he would come back. It’s already five years now.... Where is he? SARA I can’t help it the way I talk, Yosele. I feel lonely every day for our Jakie. CANTOR And you think I don’t! Please, don’t speak no more. SARA All right, all right. I won’t speak no more.... But he’s got a steady job. He’s making money. CANTOR [_Bitterly_]. Money! Money! That’s all they know. A little less money and more God would be better. SARA Please, Yosele, you shouldn’t excite yourself. CANTOR [_Mutters_]. The memory of that boy is shortening my life. SARA Don’t speak like that. Go lay down a little bit. You’ll feel better. Take a rest. [CANTOR _rises wearily, obediently._] Please don’t be mad, Yosele. I won’t talk no more of Jakie. I didn’t mean to hurt your feelings. CANTOR [_Pats her on the shoulder_]. All right, all right. I’ll go in now and lay down for a while, and maybe then I’ll feel better. [_At the door, with an attempt at his normal sweetness._] Don’t forget, you promised nice cookies for Moey. [_He goes._] SARA [_Moves toward the sideboard, when the telephone rings. She turns and moves toward the telephone saying “Hello” just before she reaches it. Then she picks up the receiver_]. Hello ... who?... Oh, Mr. Adler. How do you do, Mr. Adler.... Yes, this is the Cantor’s wife.... How did you know it’s the Cantor’s birthday?... No, he don’t know it himself. We are making him a surprise! Oh, thank you, Mr. Adler. You should have the same!... The Cantor will be happy to know you remembered him.... Thank you.... Goodbye. [_She hangs up the receiver. There is a knock on the door._] Come in. YUDELSON [_Comes in carrying a jug of wine, a praying shawl, a roast turkey wrapped in a napkin._ YUDELSON _is a jeweler—an old friend of the family. He is about forty, has a small, close-cropped beard, and is seasonably dressed in a white linen suit and a Panama hat. He is hearty, good-natured, eager to please, but not exactly a subtle person._] Hello, hello, hello! Congratulations! Good luck! SARA Mr. Yudelson! YUDELSON Well, it’s the Cantor’s birthday, so— SARA Sh! It’s a surprise. The Cantor is asleep. YUDELSON [_Lowers his voice_]. Oh, a surprise!... So I says to myself, “Yudelson,” I says, “what should I give the Cantor that would be nicer than a roast turkey, a gallon of wine which my wife, Olov Hasholem, she made it five years before she died, and a genu-ine woolen praying shawl!” SARA A praying shawl! How did you know about the birthday? YUDELSON How did I know! What’s the matter with you, am I crazy? The whole East Side remembers it. SARA [_Takes turkey and wine into kitchen_]. Sometimes I myself don’t remember. I ain’t a young woman no more, Mr. YUDELSON. I got so much to do, I don’t realize that one day is Monday and all of a sudden it’s Friday and I have to prepare for the Sabbath. I’m surprised that I myself should remember the Cantor’s birthday. [_She folds the praying shawl and puts it away._] YUDELSON You think only downtown knows about it? Uptown knows about it too. Mr. Hymie Goldstein—if he’s worth a nickel, he’s worth a hundred thousand dollars, all in first mortgages too!—he came in my store today and he bought a gold watch. A new one. For cash. He bought it for the Cantor a present—I should live so! He’s coming here tonight. SARA [_Pleased_]. It’s nice he should remember the Cantor.... Lawyer Adler just telephoned me on the telephone. He’s coming too tonight. YUDELSON Lawyer Adler! He’s already one of the big ones on Wall Street. Maybe you can get him he should fix us a new balcony for the synagogue. SARA [_Moving about the house, getting dinner ready_]. From Lawyer Adler we could get anything. The Cantor loves him and he loves the Cantor. They knew each other twenty years ago. What am I talking? It’s thirty years if it’s a day. The way time flies! It seems like yesterday I was a girl. [_She goes out to get table cloth._] YUDELSON I bet you the Cantor don’t even know it’s his birthday. [_He sits down at table._] SARA [_Enters with table cloth_]. He never knows. Tell him this year, tell him last year, he don’t remember. But when it comes, and I remember—[_She raises_ YUDELSON’s _hand as she spreads the cloth._] and his friends remember—oh, he loves it, believe me! YUDELSON Did I told you what the Gershons are bringing the Cantor? SARA The Gershons? YUDELSON You remember all the pictures which are hanging in the Committee Room of the synagogue—the pictures of the Cantor’s father and grandfather for four generations? Well, the Gershons made a hand painting from all the pictures— SARA A hand painting? YUDELSON Yes, sir—with a fancy sign. It says on the sign: “Five Generations of Great Cantors, and the Fifth Is the Best.” SARA [_Slowly_]. Five generations of great Cantors.... That will make him think of Jakie. YUDELSON That’s right.... Would you believe it—even now I’m afraid to speak to the Cantor about Jakie.... Oh, it’s too bad. It’s too bad Jakie can’t be here today, friends with his papa—to celebrate the birthday. SARA [_Pause_]. You know, a letter came last week. I think it’s from Jakie, because the Cantor didn’t want to open it. YUDELSON A letter from Jakie? Nu, you didn’t heard from him for a long time.... Why don’t _you_ open it? SARA I am afraid. I couldn’t tell you why, but I got a feeling in my heart that in the letter it wouldn’t be good news. And it’s the Cantor’s birthday. YUDELSON Don’t be foolish, Mrs. Rabinowitz. I’ll bet you it’s A Number 1 good news. Give _me_ the letter. _I’ll_ read it. SARA Maybe the Cantor wouldn’t like it. YUDELSON Come on, go ahead! SARA No, I can’t do it. YUDELSON Mrs. Rabinowitz—on my responsibility I’ll open it. Tell me, where is the letter? SARA You shouldn’t open it—it’s on the top shelf. [_Points._] YUDELSON [_Goes to sideboard_]. I’ve opened already a thousand letters in my life. [_Takes letters, looks at them._] No—that’s from the gas company.... This must be from Jakie. [_Opens it quickly._] You think I should open it?—Well, all right. [_He begins reading, mumbling to himself._ SARA _sits at table,_ YUDELSON _standing._] SARA If it’s bad news I don’t want to hear it. [_Pause._] It’s bad news? YUDELSON [_To himself, painstakingly_]. “Chicago, August 2nd. My dear mother: I am well and hope to hear the same from you.” [_To_ SARA.] He says he is well, and give God to hear the same from you! [_Mumbles to himself again._] “I am coming to New York.” [_To_ SARA.] He says he is coming to New York. [_To himself._] “On the fourteenth.” [_To_ SARA.] On the fourteenth he’ll be here. SARA [_Gets up excitedly and takes letter from_ YUDELSON]. The fourteenth?—That’s today! Nu, what else? [_Eagerly, with trembling hands she gives him back the letter._] YUDELSON [_Sits at table_]. “My dear Mother—” No, I read this already. “I am earning a great deal of money.” [_To_ SARA.] He says he is making plenty money. [_Mumbles._] “And I am getting a fine position.” [_To_ SARA.] He says he is getting a good job. SARA Does he say what kind of a job? YUDELSON No, no.... “I send my love to you and to papa.” [_To_ SARA.] He sends his love to you and papa.... [_To himself._] “And the minute I arrive in the city,—” [_To_ SARA.] And the minute he comes to the city, he says—[_Looking at letter._] And the minute he comes to the city, he says—he says—“I will see you.” [_To_ SARA.] He will see you! [_To himself._] “From your son, who wishes you the best of everything, Jakie.” [_To_ SARA.] From your son what wishes you what you wish yourself, Jakie! See, I knew it was good news. Wasn’t you foolish not to open it? [_There is a knock on door._ SARA _hides letter in her bosom, crosses to settee and sits._ YUDELSON _goes to door._] YUDELSON Come in. CLARENCE [_Enters. He is a youth of about 21 and is impressively clad in a tight fitting, double-breasted blue coat, a pair of voluminous linen knickers, gaudy golf socks and loud sport shoes. He, as well as_ YUDELSON, _keeps his hat on, as is customary in orthodox households_]. Hello, Mr. Yudelson! YUDELSON Hello, Clarence! CLARENCE [_Bowing to_ MRS. RABINOWITZ]. Hello, Mrs. Rabinowitz. YUDELSON Say, what’s the matter? Ain’t you studying in City College this afternoon? CLARENCE I took the afternoon off. It’s the Cantor’s birthday, so I called a meeting of the choir— YUDELSON Ssh! The Cantor’s asleep. It’s a surprise. CLARENCE [_In a lowered voice_]. And we all contributed toward a little gift. Mrs. Rabinowitz, will you present this to the Cantor with our best wishes for his continued happiness, peace, prosperity, longevity and the consistent and increasing use of his magnificent vocal cords! [_Hands a package to_ SARA.] YUDELSON Amen, amen, amen, amen! SARA [_Rises, takes package_]. Thank you, Clarence. The present I’ll give him, but all them words I can never say.... I don’t like to open the bundle, Clarence. Tell me, what is the present? CLARENCE I’ll show you, Mrs. Rabinowitz. [_Takes package, opens it on the table._] According to our financial status, this is the most appropriate symbol of our esteem I could find. There you are! [_It is a praying shawl!_] SARA A praying shawl! YUDELSON A praying shawl! Must have been a sale some place! SARA That’s very nice, Clarence. It was smart you should think of a praying shawl. [CANTOR _is heard humming off stage._] Ssh! I think the Cantor is coming. [SARA _quickly takes the shawl and hides it somewhere on the sideboard._ CLARENCE _and_ YUDELSON _nervously move toward the door as the_ CANTOR _enters._] CANTOR Yudelson. YUDELSON Good evening, Cantor. CANTOR Mr. Kahn. CLARENCE Good evening, Cantor! CANTOR Well, you came to see me? [_They are confused, embarrassed, and fidget as they maneuver closer to the door._] YUDELSON Well, you see, we was speaking of Clarence’s graduation, and—and—we just dropped in to say goodbye! [_They go out with ludicrous haste._] CANTOR [_Looks around, surprised_]. Well, what’s the matter with them? What’s happening today, Sara? Why did they came? SARA Well, they—they came—You’ll soon find out, Yosele. Supper will be ready—then you’ll know. CANTOR What will I know at supper? SARA Well, we’re going to have turkey ... and wine— CANTOR Turkey! Today? It’s only Thursday. Not even Sabbath evening. What kind business is turkey in the middle of the week?... You are expecting company? [_He pinches her cheek._] SARA [_With blissful secretiveness_]. Maybe! [_Then she surrenders, her face aglow._] Don’t you know what day it is today? CANTOR Thursday. What kind holiday is it? SARA Guess. CANTOR Now, Sara, stop fooling with me. Soon Moey is coming back, and I want to practice with him a little bit more. Tell me. SARA [_Kissing him_]. It’s today your birthday, Yosele! the 14th day from August! CANTOR [_Surprised_]. My birthday? SARA Sure! CANTOR [_Absently_]. How old am I? SARA You’re sixty years old today. CANTOR Ts—ts—ts—sixty years old. It couldn’t be! SARA [_Kisses him again._] Yes, it is. And you should live, mine _teure_, to be a hundred and sixty and not miss one day in the synagogue! The turkey what I told you, that’s a present from Mr. Yudelson. And the jug of wine he brought! We’re making for you a surprise! CANTOR Old friends is a good thing. SARA And what do you think? They brought you a beautiful praying shawl. CANTOR Who? SARA Both of them! Mr. Yudelson.... [_She crosses to the sideboard, gets the shawls and shows him._] And Clarence—he brought you a present from the whole choir. CANTOR That’s nice, the boys should remember. SARA [_Shows shawls_]. This one is Clarence’s, and this one from Mr. Yudelson. CANTOR Yudelson’s jewelry business must be making lots money, he should be able to give such nice presents. SARA [_There is a pause. Then, wistfully_]. Yosele—I—I didn’t get you no present this year. CANTOR You don’t have to. SARA Well, the true is, I did. But I have to change it. CANTOR Why? SARA Would you believe it—I got you a praying shawl, too! [_They laugh and embrace._] CANTOR Now we’ve got enough praying shawls for twenty years. SARA You should wear them in good health, mine _teure_. CANTOR Well, I’ll go out for a little while. [_Exits, puts on hat, changes coat. Enters, humming._] SARA Where are you going, Yosele? CANTOR I’m going to the synagogue. SARA Don’t stay long—everything is on the stove. Supper will soon be ready. CANTOR [_Goes to table, gets book_]. That’s fine, Sara.... I will wear the one you gave me and we’ll save the others! [_Kisses mazuzah and goes._] [SARA _listens, to be sure she hears his steps as he goes. Then she takes the letter from her bosom and kisses it. She reaches for a vase on a high shelf. From this vase she brings out a packet of letters bound with a ribbon. She unties the ribbon, places this last letter with the rest, ties it again and replaces the vase on the top shelf. As she is doing this a hand-organ is heard out in the street. It gradually gets louder._ SARA _moves to the sideboard, gets some pennies out of a glass, wraps the pennies in a piece of newspaper and raises the window. She throws the pennies out. The hand-organ stops, doubtless as its owner picks up the pennies, and then starts playing again._ SARA _goes into the kitchen. The stage is empty, with no sound but the gradually diminishing music of the hand-organ. There is a knock on the door, another knock, and then_ JACK _enters. He is short, slender, dark. He is fashionably dressed in a well-fitting gray suit, a straw hat rakishly on his head. He carries a large pig-skin English bag and a stick. An engaging combination of wistfulness and impudence is a note of his personality as he looks about him carefully and, seeing no one, pauses, back to audience, to study the living room in the house from which he ran away five years ago. Then he crosses to the settee, where he rests his hand-bag. He places his hat and stick in a corner, moves over to the mirror and straightens his tie. As he turns,_ SARA _enters from the kitchen. There is a dead silence as mother and son face each other. Then, thrilled, they suddenly meet in the middle of the room in one another’s arms. The following dialogue comes swiftly, quiveringly, tearful in its gladness._] JACK Mama! Mama! [_He kisses her._] SARA Jakie, Jakie! My baby! My darling! JACK [_Steps back—leads her to chair_]. My, my, mama! Gee, it’s good to see you, Ma. You look wonderful. SARA [_Sinks down in chair_]. That I should live to see my Jakie again!... When did you come? JACK I just got off the train. SARA And the first thing you came to your mama! JACK Who else? SARA You’ll stay and have supper?... Hello, Jakie, how are you! JACK Say, Mama, did you miss me? SARA Such a question to ask your mama! JACK How is papa? SARA [_Sighs_]. Oh, he will be glad to see you. JACK How does he feel? SARA Healthy, thank God. Jakie, you’ll live here with us, no? JACK I’d love to, Ma, but I can’t. I wired for a room at the hotel. I have to see some people uptown on business. SARA [_Rises_]. Don’t be foolish. For business you can go uptown, and for eating you can come here and eat your mama’s cooking, and here you can sleep. I got your old bed just the way it was when you left and all your things is in your room the way you used to want them. [_As she is saying this,_ JACK _is patting her cheeks with his hand and interrupting her gaily, tenderly with “Yeh, yeh, Mama, yeh, yeh!”_ SARA _moves to his suitcase._] JACK Here, what are you doing? SARA I want to put this in your room. JACK Don’t make yourself a baggage man, Mama. SARA I want to put everything away so you’ll know where they are. JACK If you put them away, Mama, I won’t know where anything is. SARA [_Quaintly_]. Well, I want to see what you got. JACK All right. I’ll open the bag for you. You see how hard it is to open, Ma? It’s an expensive bag. That’s genuine pigskin. Ah, there we are. [_Brings out suit of pajamas._] See that? That’s pajamas. Two parts. In the winter you can wear them both. [_Takes out dressing gown._] That’s a wrapper. SARA Wrapper? JACK Yeh, a wrapper for a gentleman. SARA [_Takes out leather case_]. Oh, what a big pocketbook! JACK That’s a picture. SARA A picture from you? JACK No—I know how I look. What do I want of my picture? SARA [_Opening it_]. Who is this? JACK That’s a girl who did some wonderful things for me. How do you like such a tie, Mama? [_He takes gaudy ties from suitcase._] SARA It’s a beautiful girl.... She lives in that house? JACK She lives there in the summer time. [_Takes out military brushes. He wants to change the subject._] See, these are military brushes! SARA It’s a big house, Jakie, for only one girl. She’s got a husband, no? JACK Not yet, Mama. Look at these shirts. They’re silk! SARA Only a big house and a dog she’s got? What does she do all the time in the big house? JACK She was born in the big house, Mama. Then she came to New York and studied for the opera. But you know how it is in the opera. If a girl don’t weigh more than two hundred pounds they don’t want her. Now she’s a big star in musical comedy. SARA _Ain’t_ that a shame! Such a nice girl, too! And who lives in this house? JACK The dog! SARA That’s a nice house. JACK It’s a nice dog! [JACK _takes the picture from her and places it back in the bag._] Now, Mama, I got something that I brought home only for you. It’s a surprise. Close your eyes, Mama. Close your eyes and keep quiet and count.... Don’t say anything. SARA [_Closes her eyes._] How can I count if I don’t say anything? JACK [_Takes jewelry box out of his vest pocket and pins brooch on her dress. Kneels in front of her_]. Count to yourself. One, two, three, four, five, six, ninety, a dollar ten, a dollar twenty. Stop when you get to three dollars.... Now, open your eyes and look downstairs and see what’s going on! SARA [_Looks at brooch_]. Diamonds! with stones in it! JACK Sure—certainly! SARA Real diamonds? JACK If they’re not, Mama, somebody played me a dirty trick. SARA Jakie, where did you get so much money? JACK Don’t worry about money, Ma. I got lots more where that came from. SARA [_Worried_]. You didn’t do any wrong, did you, Jakie? JACK No, Mama. SARA But what kind job could a young boy have that he should have so much money? JACK Don’t worry, it’s all right, Ma. I didn’t kill anybody, and I’m not selling real estate in Florida. SARA [_There is a pause. Then she turns gravely to her son_]. Jakie, tell me—why did you run away that time?... Why didn’t you tell us?... JACK We’ll talk about all that later, Ma.... I want to look over the old place, see what’s been going on for the last five years. My, but you’ve improved the old homestead! There it is; everything spick and span, eh? Just like it always was. SARA Jakie, you don’t get the headaches any more? JACK No, Mama, I feel fine. I must weigh at least eight hundred pounds. Oh, look, there’s Uncle Eli. [_Points to picture._] He’s still mad! My, look at that vase. It’s grown up! I remember it when it was a little cup. And you’ve got a phonograph, too. I knew you were saving all those soap wrappers for something. Um—so many new things—Oh, oh, I see a change. [_Points to picture above phonograph._] Didn’t there used to be a picture of me there? SARA [_Quickly_]. Yes, Jakie—we don’t have it no more. It fell down and got broke— JACK Well, well, well. First it was me, and now it’s pussy-cats! [_Moves to window._] But the synagogue—that’s still in the same place. SARA [_Joins him_]. Sure, it’s in the same place, Jakie. JACK Do you know, Mama, it’s a funny thing. It looks so small to me now—and when I was away on the road it used to seem so large—especially the windows.... And now they look so small.... I remember that little window away up in the corner—see the little blue window? Hm—I’ll never forget, one day I was playing baseball. Hymie Cohen was pitching. I hit a ball—it was a home run—and psst! went that window away up in the corner. SARA I’ll never forget how much it cost to fix it. JACK Well, we won’t talk about that. Can you still hear the services when the window is open? SARA Yes, Jakie. JACK [_Turns to phonograph_]. This is nice, Mama. Does it play, too? SARA Sure it plays. It played last week. JACK Well, well, let’s see what kind of records you have. Um—Il Trovatore, Pagliacci. You’re coming up in the world. Red Seal. That’s a buck and a half. You haven’t got “Red Hot Mama,” have you? SARA Red Hot Mama, what’s that? JACK No home is complete without a red hot mama. If you had a piano in the house, I’d show you. SARA Sure, we’ve got a piano—since last year. Your papa uses it to teach the choir. It’s in the front room. JACK Ay, ay, ay, ay, ay! A piano! You’ve been holding out on me. What’s been going on for the last five years? The first thing you know, you’ll be going to afternoon teas and dancing the Charleston. SARA Go on, Jakie, I wouldn’t do that! JACK That’s the way they all start, Mama. What kind of a piano have you got—grand or upright? SARA I don’t know. We pay every month. JACK Then you’ve got an upright! Let’s go and see. [_They go out together._] [_From offstage is heard the rippling of some chords on the piano. Then_ JACK’s _voice breaks out in the words of “Red Hot Mama.” He sings it with that rich plaintiveness which, combined with syncopation, has become the convention for the rendition of jazz. Half-way through the chorus the center door opens and the_ CANTOR _enters. He stands rooted to the floor, outraged at the sounds he hears. He looks toward the door of the music room, then, as if afraid of what he might see there, moves back automatically, taking his hat off, leaving the skull-cap on his head. Then, beginning to realize that this blasphemous noise really is occurring in his own home, he slams his prayer book down on the table and moves toward the music room._ JACK _who has finished the chorus and is about to play it again, has yielded to his mother’s audible shocked protests. They come out of the music room, not seeing the_ CANTOR. JACK,_ who is facing his mother, walks out almost backward._ SARA _is saying—_] SARA No, no, Jakie! You shouldn’t sing like that! It is wrong! JACK You’ll get used to it, Mama, and you’ll like it if you’ll learn the words. I know a million songs like that. [_Then_ JACK _turns, sees the_ CANTOR, _and suddenly the bravado, the glibness, the flippant smartness with which he has been buoying himself up, drop from him like a cloak. It is a feeble echo of the JACK we have seen who now addresses his father._] Well, well! Hello, Papa. CANTOR [_Slowly_]. What are you doing in this house? JACK What am I doing? Didn’t you expect me? I wrote you I was coming. SARA He said, “Hello, Papa.” It’s your son, Jakie. CANTOR I didn’t even open your letter. Why did you come—to play loafer songs on my piano? JACK No—I came home, Papa—I came home because I’ve been away for five years, and I’ve made good, and I wanted to let you know about it. CANTOR For five years you didn’t need your papa. You don’t need him now. SARA Yosele, please! CANTOR You have no shame after what you did to us? You come into my house, you sit down by my piano, and you curse it with your dirty music from the sidewalks. SARA No, Yosele. It was my fault. I wanted he should see the new piano. JACK [_Gently, with quiet dignity_]. Wait a minute, Mama. I don’t think you know how I feel now, Papa. I thought about you a thousand times when I was away. The first place I came when I got off the train was home. I didn’t mean any harm when I played the piano. I just wanted to sing Mama a jazz song.... CANTOR Jazz! A song of prayer wouldn’t come into your head, only jazz. Even when you was a little boy, I taught you to sing to please God, but you sang to please yourself. One minute you were singing in the synagogue and the next minute singing in the street. You’re the same now. JACK [_Eagerly. He does not realize how far from home he has traveled in five years. For this instant he really thinks that he understands what is hurting his father—that he can explain it in a few words_]. You’re right, Papa. I am the same. You did teach me to sing songs of prayer. And I sang them here for you. But when I got out on the street with the other kids, I found myself singing the same songs they sang. And they’re very much alike,—our songs—and the street songs. Well, listen—[_He sings “Ain Kelohenu,” a Hebrew prayer tune. He sings four bars of it, swiftly, with feeling. And then, suddenly, to exactly the same tune and with exactly the same plaintiveness but with a new rhythm and shaking his shoulders, he sings a popular song._] “Nothing ever hurries me, Nothing ever worries me, Easy come, Easy go, It’s all the same to me!” I just got them mixed, Papa—See? [_This does not have quite the effect which_ JACK _innocently had hoped for. The_ CANTOR, _shocked, has sunk into the settee._ SARA, _frantic in her eagerness to avert the swiftly impending disaster, is fluttering between_ JACK _and his father. She is too excited to know what she is saying._] SARA Jakie, where did you learn to sing like that? JACK [_Not precisely a diplomat, strong in his own sense of righteousness_]. Where did I learn to sing like that? From Papa—who else? He taught me to sing. You forget that I’m an American boy, and Papa is from the Old World. If he were born here, like I was, he would probably be singing jazz, too. CANTOR [_Rising toweringly above JACK_]. You shouldn’t speak like this from a Cantor—do you hear? God will punish you! He will take vengeance! SARA Look, Yosele, supper is ready, and our son is home. Come, we should eat and be happy now. Talking can be later. It’s your birthday. Jakie, it’s today your Papa is sixty years old. JACK Don’t I know it? The 14th of August—that’s why I’ve been so anxious to get home today. I’ve been picturing this home-coming for a long time. I figured now I’m doing all right, and it’s been a long time, so I’ll go home. I thought you’d be so glad to see me. SARA We are glad, Jakie. I’m so happy. I’m crying with happiness. JACK Yeh, and Papa, he’s happy, too. [_He crosses to settee—gets package from bag._] To show you I haven’t forgotten, I brought you a birthday present, Papa. The finest praying shawl I could get. [_Moves to table._] And I’ll make you a little speech like I did when I was a little boy. Many happy returns of the day, Cantor Rabinowitz! SARA [_Pleading_]. Look, Yosele. CANTOR [_Looks straight ahead. His voice is numb_]. Thank you. SARA [_Eagerly_]. Oh, Yosele, this is like I dreamed lots of times!... A praying shawl.... That’s just what your Papa needed!... This is a fine piece of goods, Jakie. JACK You bet it is. As soon as I found out that Tom Brady had imported these from Palestine, I said right away, I got to get one for my old man—my papa. [_The CANTOR does not move._] SARA [_At a loss for something to say_]. Tom Brady? JACK You never heard of Tom Brady? He makes the most beautiful costumes for the stage. CANTOR [_Slowly turning to_ JACK]. The stage? What do you mean, the stage? Theatre? Are you in the theatre business? JACK Sure, Papa. I’m an actor. Jack Robin—that’s me. CANTOR An actor! An actor in the theatre! You tell this to me—who comes from a family of five great Cantors! And after all my plans that you should be a Cantor, too! And now you take this singing that is holy to me and make it common! JACK What’s wrong with being an actor? I meet nice people—I make good money. CANTOR [_Furiously_]. Money, money, money! Pickpockets make money, too! JACK Aw, don’t say that—don’t talk like that. SARA Yosele, please! CANTOR If there must be actors, let there be, but not a son of mine. Not a Rabinowitz! Their work has been laid out for them by God. SARA [_Almost hysterically_]. Where are you going to act, Jakie? Downtown here? JACK No, Mama. I’m going to act uptown. In English. CANTOR What kind English acting are you doing uptown? JACK [_Responding to his mother’s mute appeal_]. Come on, Pa, let’s celebrate your birthday, and then some other time I’ll talk about my work. SARA Come, Yosele, look. See the diamonds what Jakie brought me. Ain’t that nice? For a mama diamonds, and for a papa a praying shawl. Yosele, he’s got in the satchel so many nice things. [_She moves toward the bag._] JACK Now, please, Mama, he doesn’t want to see that. CANTOR I’m asking you—what kind English acting you are doing uptown? SARA [_Takes out prayer book_]. Oh, see, Yosele! He’s still got his little ivory prayer book what you gave him when he was confirmed. JACK It’s a funny thing about that prayer book, Ma. When I was traveling on the road, I bet I left a million things behind, but I always carried that. SARA See, Yosele, he didn’t forget he’s a son from a Cantor. CANTOR WHAT KIND ENGLISH ACTING ARE YOU DOING UPTOWN? JACK Papa, it’ll take some time to explain. It’s hard to tell you in a few words. Can’t we wait until after a while— CANTOR It ain’t hard I should tell you the work I’m doing. I sing to God. I pray. It ain’t hard to tell the kind work your mama is doing. She is a Cantor’s wife. _She_ worships the Almighty. _She_ knows the sorrows what has come to the descendants from Abraham and Isaac and Jacob, to the children of Israel. _She_ is living to be a good wife of a Cantor.... Once she wanted to be a mother of a Cantor, too, but she found this couldn’t be. It ain’t hard for us to tell you the kind of lives we are living. What kind of life are you living? JACK [_Exasperated_]. I told you. I’m an actor. I sing. Just like you sing. Only I sing in a theatre. CANTOR [_Fearfully_]. What kind singing? JACK Didn’t you hear me? I sing jazz songs. Ragtime. CANTOR [_Stunned_]. Mama, did you heard what he said? SARA Jakie, you are fooling! JACK You’re right, Ma. I fool, too. I’m a comedian. I get all dressed up in funny clothes. I sing funny songs and make people laugh. They pay money to come and hear me. They’re going to pay big money soon. Right now, Mama, I’ve got a big job with one of the biggest producers in New York City, with a show called “The April Follies.” And if I make good, I’ll get a big salary, and you’ll be proud of me—you’ll see. CANTOR A joke maker! A jazz singer! Oh, my God in Heaven! Does it mean nothing that Rabinowitz is the name of great Cantors? Does it mean nothing that there is a God?... You are no son of mine. I never want to see you again. JACK [_Hopelessly_]. All right, all right. [_Moves to settee, begins to pack his bag._] SARA Jakie, tell him you are sorry. Tell him you are ashamed. JACK Ashamed—what have I got to be ashamed of? Shall I tell him I’m ashamed because I worked like a slave to get my big opportunity? Did I come home broke? Did I ask for anything? No. I came home because it looks like I’m going to be successful, and I wanted to share it with you. CANTOR I don’t want to share anything with you! Go back to your sidewalks! JACK [_As he packs his bag_]. All right, all right. You’re not giving me a chance, that’s all. Why do you think I came home? I came home because I want to have your love again—that’s why. I came home because I thought I could bring together all the things in my life that are dear to me, that made me happy from the time when I was a little kid till now—singing and playing in the streets—the East Side—shooting craps—baseball—my mama—my papa—the synagogue,—and now my work in the theatre. CANTOR Don’t you mention the word synagogue in this house again! SARA Yosele, couldn’t you listen to him? Couldn’t you see he is trying to tell you something? CANTOR To such words if I listen God will burn me with lightning. Better I should be dead than my son should holler unholy words in my ears! Get out! Out from my house! You loafer from the sidewalks! You tramp! You bum! You actor in a theatre!... You jazz singer! [_He is seized by a fit of coughing, and he sinks into a chair._ SARA _hastens to his side._] SARA Jakie! The water! From the sideboard! [JACK _goes quickly to sideboard, pours a glass of water and brings it over._] Yosele, you shouldn’t excite yourself so. Look, Jakie, see how white your Papa’s face is. [_Takes glass of water from_ JACK.] Here, Yosele, drink it slow. Jakie, my son, come, tell him you are sorry. Tell him you are ashamed. JACK How can I, Mama? If I can’t be proud of being a jazz singer, then I can’t be proud of anything. It’s all I’ve got, Mama, it’s all I am. [_Gets hat, stick and bag, then pauses._] Well, there won’t be any more arguments around here on my account, I’ll tell you that. I was away for five years—I can stay away longer. I’m sorry if I did anything to make you feel so bad, Papa. But you can make up your mind to this. I’m a young fellow, and I’m going to live my life in my own way. I’m not going to stay down here and sing prayers that don’t mean anything to me any more. Maybe I could do it when I was a kid, but I’m not going to do it now. I’m never going to do it. That’s all. [_To_ SARA _in lower voice._] Well, I’m going to the hotel. I’ll call you up as soon as I get settled. [_Goes to door._] Goodbye, Mama. [SARA _indicates_ CANTOR _sitting, broken, by the table._] Goodbye, Papa.... I’m very sorry—I’m very sorry that you just—don’t understand. [_He goes._] SARA [_Touches_ CANTOR _on shoulder_]. He’s gone, Yosele. Our Jakie is gone. CANTOR [_Without moving, head sunk on chest_]. Did you heard how he sang? The same sighs, the same tears I taught him in the synagogue—that I put in his voice he should sing to God—now he uses them to sing in his jazz music. [_His hand on the table encounters the praying shawl which_ JACK _brought._] A fine birthday present I got. My son brought it to me. A praying shawl from Palestine, from the dirty hands of a loafer. [_He rise._] Burn it! [_He moves toward the settee._] Put it in the stove and burn it! SARA [_Goes to him_]. Oh, Yosele, you are breaking my heart when you speak like this! And I tried to be so happy on your birthday! CANTOR [_Stares at her incredulously_]. Happy—happy? You are happy? You look in my face and tell me happy you are? SARA [_With a tragic attempt to smile_]. Sure! Look at me, ain’t my face smiling? [_Sits beside_ CANTOR.] Why shouldn’t I be happy? Ain’t it today you are sixty years old? CANTOR [_Doesn’t seem to hear; mutters_]. A surprise—that’s a fine surprise I got.... SARA [_Proudly_]. Ain’t it you are mine man—my Cantor? CANTOR Sara, my dear one, you are a good wife, and you were a good mother. You don’t deserve such a son. [_Faintly from the hallway is heard a boyish voice singing “Red Hot Mama.” Neither the_ CANTOR _nor_ SARA _hear it as yet._ SARA _continues._] SARA All right, all right. Forget all your troubles tonight. Lawyer Adler from uptown—he is coming at eight o’clock. The Luryas and the Goldsteins are coming too,—with automobiles. Your birthday— [_The_ CANTOR _now hears the singing, which is coming closer. He raises his hand. His face is suddenly the face of a corpse, as the door opens and_ MOEY _enters, blithely singing, “Every time I look at you, I want to hotter Hot Tamales.” He sees the_ CANTOR, _stops his singing, says, “Good evening,_ CANTOR,_” and then moves—a well-fed little boy—to the chair by the table, as the curtain falls._] ACT TWO _SCENE 1_ SCENE 1: _The stage of the Fulton Theatre, during the morning hours just preceding the afternoon dress rehearsal of “April Follies.”_ AT RISE: _The curtain rises on a disorderly stage where a song and comedy “number” is being rehearsed. We are looking at the stage from the back—that is, we see directly into the footlights and into an empty auditorium._ _Stage hands are working, shifting scenery back and forth; electricians are placing lamps and experimenting with lighting effects. As the curtain rises we hear the banging of a piano. We see a chorus in practice clothes. We see_ CARTER _dancing._ _In the back, at the footlights, Lee, the producer, sits in a tilted chair, a manuscript in his hand. Grouped between_ LEE _and the chorus, on either side of_ CARTER, _are_ GENE, MISS GLYNN, MARY DALE, JIMMY _and another actor. Seated in the shadowy foreground, playing cards with a stage-hand, is_ JACK ROBIN. _Most of the action in this scene is paced very swiftly. It gives the effect of the hurried disorder which is characteristic of the eleventh hour of a theatrical production. The action is almost frantic—one speech piles on top of another so that you can scarcely follow it. It is not necessary that you follow it. The picture is enough. It is only at certain moments—moments when the story of the play enters with its deeper note—that the action is slow, that characters begin to come into focus—such moments as when_ JACK _and_ MARY _are alone, when_ JACK _is alone with_ LEE, _etc._ LEE That’s all right! Is everybody concerned in the Dixie scene here? GENE Everybody concerned in the Dixie scene stand by. LEE [_A tall, stout man, meticulously dressed. He has a black mustache—probably dyed—and scant, grayish hair on an impressive bald head. Adversity sent him to the theatre, where he made money. Money sent him to Europe, where he achieved good clothes and an air of distinction. He never allows his air of distinction to interfere with efficiency, however; and, on the other hand, no matter how intense the excitement and confusion of the rehearsal, he never takes his coat off. He rises_]. Now, remember—this is the finale of the first act and I want lots of pep. Speak out so that everybody can hear you. This is the last time we do this scene before the Dress Rehearsal, so get it right. All ready? Let’s go. CARTER [_He is gray-haired. He has large, wistful, cynical eyes. He has a droll, rolling, weary mouth. Once he was a great comedian. Today, while still well-known, he is relying on formula—and is speeding, without realizing it, into oblivion. Reads from part_]. “Mr. Carruthers, I’m from headquarters and I tell you that Gus, your colored porter, is none other than Dixie Dan, the Bootlegger.” [_Turns to_ DETECTIVE. _Speaks._] “Is that right?” DETECTIVE “That’s right, chief.” CARTER “And what’s more, he has been very disrespectful to your daughter, Gwendolyn.” GENE [_He is the stage manager and one of the actors. He is a big, fat man in shirt sleeves, with the stub of a cigar in his mouth_]. “Gwendolyn, come here!” MARY [_She is bob-haired, slim and lovely. Five years ago she was a flapper. Four years ago she was a debutante. Three years ago she ran away and entered the chorus of the Metropolitan. Two years ago she had a minor rôle in musical comedy. Now she has the feminine lead. She is democratic, ironical, fastidious, informal, subtle and hearty_]. “Yes, father.” GENE “Did you know that Gus is a bootlegger?” MARY “Father, don’t believe a word he says. It’s too bad Mr. Gus isn’t here to defend himself.” GENE “Where is Gus the porter? Has any one seen him? Where can he be?” MISS GLYNN “Look! Here he comes now.” [_In typical musical comedy fashion every one stagily steps one foot to the right and points with outstretched arm to the right. There is the typical musical comedy hush which announces the entrance of a principal._] ALL “Ah”! LEE Where is Jack?... Robin! That’s your cue. Come on! [_There is a moment of confused silence and then_ JACK, _coming out of his absorption in the card game, rises hastily, apologetically. He turns for a second to the stage-hand._] JACK Spade—spade—spade! You lose! [_Now he hastens to the center of the scene. With an apologetic word to_ MR. LEE _he turns to his script._] Now, where are we? GENE “Gus, where’ve you been?” JACK “I’ve been down to my father’s farm where we have a black hen that lays a white egg.” CARTER “What’s so wonderful about that?” JACK “You go home and try it!” CARTER That’s the cue for my Poppy number, isn’t it, Mr. Lee? LEE No, Carter, I’ve changed my mind about that. I’ve decided to let Jack do that Poppy number in the second act. CARTER Now, Mr. Lee, that’s the best number I got. That’s where I do my specialty. JACK Yes, Mr. Lee, I think you should let Carter keep that number. I’ve got enough to do now. LEE [_Impatiently_]. That’s all right, Jack. I know that. Why do you think I postponed the opening? In order to give you more to do. You can carry this number, too. Now continue the scene and go right into the Dixie Number. JACK I’m sorry, Eddie.... Where were we? Oh, yes, sir. “I’m going down South again to the land of cotton and jasmine, where the watermelons grow, where I can be with my mammy. If you’ll all sit down, I’ll sing you a song all about it.” [_The girls all sink down in a wide semi-circle. The other principals back away. The piano beats out the “vamp.”_ JACK, _his back to us, facing his own footlights, his shoulders shaking, his hat carelessly on the back of his head, goes into his jazz song. He does not do it earnestly, except for an occasional note on which he lingers with the easy assurance of the man who knows that when the time comes he will do it well. He sings._] “Home pa-hals, home pa-hals, Sad was the day when I blundered away From my Home pals; Wan-dered— Squ-handered— My mammy’s lo-hove without any ru-heason or ru-hyme To have A wo-hunderful time....” [LEE _blows his whistle and stops the singing._] LEE I’ve got an idea. We won’t use this stage again until the dress rehearsal. Gene, send the girls up on the roof. [_In less time than it takes to tell, the chorus girls have been shooed off the stage._ CARTER _and the rest move back to an obscure part of the stage._ LEE _brings_ JACK _down where we can hear clearly what they say._ MARY _comes with them. During the following conversation a drop comes down. It is the back of a country scene—you gather from the lights which play around its translucent surfaces that it represents a wisteria-hung house front._] Now, Jack, there’s a big kick in the Mammy number. I want you to do it alone with no one on the stage. Just you and the spot light. Cut out the running around and put your heart into it. Give it all you’ve got. If you do it that way, you’ll be a knockout. MARY That’ll be wonderful, Jack. JACK [_Not quite casually_]. Do you think so? MARY [_To_ LEE]. Harry, they just brought my last act costume and it’s nothing like the sketch. LEE Let me see it, Mary. MARY All right. [_She goes._] CARTER [_He has been lingering, ill at ease and resentful, in the back_]. Mr. Lee, I want to see you. LEE Well, Carter, what’s on your mind? Make it snappy. CARTER All right, I’ll make it snappy. What’s the big idea cutting my numbers down? Half the house tonight is going to be my personal friends. What do you think they’re going to say about your show tomorrow on Broadway? JACK [_Comes between_ LEE _and_ CARTER. _He is disturbed. Something is troubling him. It must be something more serious than his words reveal_]. Mr. Lee, I think you ought to let Carter keep that Poppy number. He’s an old song-and-dance man and that’s more in his line. LEE What’s the matter, Jack, losing your nerve? JACK It isn’t my nerve, Mr. Lee. It’s just the success of your show I’m thinking about. LEE Let me worry about the success of my show, Jack. Don’t you want the opportunity I’m giving you? JACK I think it’s great, Mr. Lee, but— LEE [_Interrupts brusquely_]. All right, then. [_Turns to_ GENE.] Gene, tell O’Hara to send that little Glynn girl here at once. GENE Yes, sir. [_He goes._] O’Hara, send that Glynn girl here. Mr. Lee wants to see her at once. [CARTER _and_ JACK _sit on trunk facing up stage._ GENE _returns, sits at table._] CARTER [Mutters]. I haven’t had anything like this happen to me in over forty years. I’m going to quit. JACK [_Pity for the old man swiftly welling up in him, yet realizing that nothing can be done, casts about for a jest with which to salve the other’s pain_]. Look here, Eddie, you’re not going to quit on the night I’m making my debutt. CARTER Debutt? JACK Well, if that ain’t right, you can sue me! Now listen, Eddie. You just wait until after the opening tonight and you’ll probably have all your numbers back and maybe some of mine. [_He rises._] Come here, Eddie. I wrote a new scene for us. [CARTER, _pathetically grateful for the respect and affection this implies, moves back, out of the scene, with_ JACK. MISS GLYNN _comes in. She is blond, pretty. She is in the rompers which chorus girls use as practice clothes. As she moves toward_ Mr. LEE _she is obviously frightened._] MISS GLYNN Mr. Lee, did you want me? LEE Yes, Miss Glynn. I’ve been watching your work in the finale this morning, and it’s very bad. Didn’t you tell me you were an experienced Spanish dancer when I hired you? MISS GLYNN [_Trembling_]. Yes, sir. LEE Well, you’re not. I don’t believe you ever had any stage experience in your life. You dance like a school girl. Now answer my question. Did you do any professional work before? MISS GLYNN N—no—B—but I thought— LEE I don’t care what you thought. Did you or didn’t you tell me you were in the “Follies”? JACK [_He has been listening to them while chatting with_ CARTER, _and now moves down_]. Excuse me, Mr. Lee. Could I see you just a minute?... Don’t blame this kid. Anything she slipped over on you was my fault. She—well I saw her in the waiting room—and she looked kind of bashful, poor kid—so I told her to tell you she had been in the “Follies.” I know you and Ziegfeld aren’t talking, so you’d never find out! LEE Well, I’ll be damned! JACK [_A master of the tempo of kidding, he moves hastily toward the stricken_ MISS GLYNN _and whispers to her. Her face lights up as she runs off the stage happily. Crescendo,_ JACK _turns to_ LEE]. That’s all right, Mr. Lee. She forgives you! She isn’t mad at you at all! [JACK _doubles up with a grimace of mock humility, and_ LEE _succumbs. He laughs._] LEE You better not let Miss Dale catch you doing favors for little girls. [JACK _grins and strolls across the stage, watching the electrician who is playing with lighting effects._] MARY [_Comes in and goes to_ LEE _by the table. She has a sheet of paper which she places before him_]. Harry, here’s the sketch— JIMMY [_Enters_]. Mr. Lee, Mr. Randolph Dillings just phoned and told me to tell you he was coming here this afternoon. LEE Thank you, Jimmy. [JIMMY _goes_. LEE _rises, and the act settles into a slower pace; for the “atmosphere” is over._ LEE _speaks half to himself._] That’s too bad. MARY Is Randy still bothering you about Jack? LEE Yes. The last time he was down he wanted me to let Jack go. MARY Why? LEE You. MARY I don’t understand. LEE He’s jealous. MARY But he hasn’t even met Jack. He didn’t say anything to me about it. LEE Of course he wouldn’t—to you. MARY That’s perfectly childish of him. LEE [_He has been half absorbed during this dialogue with papers on the table. He picks them up and mumbles_]. Yes, I suppose it is. [_He goes off._] [JACK, _who has been standing back-stage chatting with some girls, is now heard laughing and joking with them. They are called away and_ JACK _comes down to_ MARY _who is sitting on a trunk._] MARY Well, you seem to be happy, Jack. I was afraid you’d be nervous on your opening night. JACK Me happy? I feel like I’ve been elected mayor and can’t find the City Hall. Mary, if any one gave me an unkind look, I’d lie down on the floor and cry. MARY Is there anything wrong, Jack? Is something worrying you? JACK You’re worrying me. MARY I? JACK [_Slowly_]. I can’t get over the feeling that if I don’t make good tonight, you’re going to be the goat. You and Mr. Lee. You’ve done everything for me—the two of you. So far, I haven’t done a thing in return.... I ain’t even thinking about what it would mean to me deep down here—[_He touches his heart._]—if I flop. But then, that’s my business and nobody else’s.... The way things are now, though.... Gee, if I don’t make good with you—and with Lee—I’ll feel like hell. MARY Is _that_ all that’s worrying you? Why, Jack, how silly you are! You’re going to be a sensational success, don’t you realize that? And everybody’s going to be proud of you. JACK [_Slowly_]. Not everybody. I know somebody who won’t be proud of me. MARY [_Intuitively_]. You mean—your people?... I’ve often wondered why you never mentioned your people to me. JACK Well, I—I quarreled with them. MARY Where are they? JACK They’re far away. [_He rises from trunk._] Oh, it’s no use to talk about it. MARY I’m sorry. JACK [_Turns to her_]. The point is, my people had other plans for me.... They—they’d sooner I was a criminal than be on the stage.... MARY Well, I guess a lot of stage people have the same sort of problem you have. JACK My father and mother are different. I’m the only son, and they ... had other ideas about me.... I ran away from home.... They don’t think I’ll ever be any good. MARY Oh, my dear, serious young man, there’s nothing terrible in that. JACK You don’t know my father and mother, Mary. MARY Jack, there’s nothing as selfish as the selfishness of parents. Do you think my people liked the idea of my being on the stage? Mother threatened to have a nervous collapse. Father was frantic. But I did what I wanted, and they both got over it. And now they brag about me to the rest of the family. JACK Well, my father ain’t ever going to brag about me, I can tell you that! [_There is a deepening cloud on his face as he moves away from_ MARY. _He has almost forgotten the excitement of the dress rehearsal._ LEE _and_ FRANKLYN FORBES _enter briskly._ FORBES _is snappily dressed, about 30. The two of them bring back the speed and exuberance of the theatre._] LEE Here they are! Jack, you know Franklyn Forbes, our publicity man? JACK How are you, Mr. Forbes? LEE Franklyn wants to do a story on you in a hurry. FORBES First of all, I want to get the story of your life. JACK [_Turns upon them in a curious mood—sardonic and humble, flippant and bitter_]. Say I was born when I was very young. When I was a year old I sold newspapers. By the time I was two I owned the stand. LEE Come on, Jack. Franklyn’s in a hurry. FORBES Stop your kidding, Mr. Robin. I can get some real stuff into the papers about the way you put over a jazz song. JACK What has the story of my life got to do with the way I put over a jazz song? MARY Everything, Jack. If it’s the right kind of a story. [_To_ LEE.] You know how Jack puts over a song. That intensity of his. Something like the intensity of Billy Sunday. It’s a new note. FORBES Yes, and if I can weave a colorful life story behind it—based just a little on fact— JACK All right. I’ll tell you. Say that every morning at eight o’clock I take a bath in certified milk. LEE Don’t waste any time kidding, Jack. Give Franklyn a general outline of your life—where you were born, your parents, and so on. JACK I—I’m sorry, Mr. Lee, but I’m kinda sensitive about my childhood. Not that I’ve been in jail or anything like that. But why doesn’t Mr. Forbes fake a story—I don’t care what he says—it’ll be O. K. with me. FORBES Fine! I think I’ll have the usual East Side back-ground—hanging around with the gang—singing waiter in a Bowery dive—pious old father— JACK I—I don’t think that East Side stuff is so good. FORBES I do. It always makes fine human interest material. JACK [_Obstinately_]. Well, I don’t think so. LEE We can’t waste any more time on this. Write anything you want to, Franklyn. JACK Now, please.... I don’t want you to think I am swell-headed.... I appreciate the fact that you are all trying to help me. But look—isn’t there enough in that Chicago stuff without going back to my cradle days? LEE That’s not a bad idea. Franklyn, why don’t you use the story of how Miss Dale discovered Jack? MARY I’ll tell it to you, Franklyn. I was playing in Chicago— FORBES [_Takes out pad and pencil, sits at table_]. You were playing in Chicago? MARY I had a half hour to kill one day, and I dropped into one of those West Madison Street movie houses, and there he was. JACK This won’t be any good either— LEE Why? JACK Because after the opening night I’ll probably go back to Chicago—by freight. And the old gang at the movie house will give me the laugh. They’ll say, “Here he is—the great Jack Robin from Broadway! Hurray! Catch a broom and sweep out the place!” FORBES What movie house was it, Miss Dale? MARY I don’t know. What house was it, Jack? JACK Oh, a funny little place under an elevated station—called The Happy Hour. FORBES What were you doing there? JACK I was looking at Mary. MARY Jack was standing in a spotlight—dressed in _such_ clothes.... JACK You ought to see the suit I had, Mr. Lee, for eighteen fifty, with nine pair of pants! MARY And he was singing, “Take Me Back to Tennessee.” I never heard jazz sung quite like that before. There was a tear in it. I came every day that week. Jack did all sorts of things, comic songs, Mammy songs, sold candy up and down the aisle, announced next week’s program—about fourteen times a day. JACK Yeh, and I checked baby carriages, too! I did everything in that joint except collect the money. They wouldn’t let me do that. MARY Well, you know the rest, Franklyn. FORBES [_Rises_]. Thanks very much, Mr. Robin. You gave me more stuff for a good story than you thought you did. So long, Miss Dale. See you in your office, Mr. Lee. [_He goes._] LEE Come on, Jack. We’ve got a lot of work to do. JACK Mary, do you want to come along with us? MARY I’d love to, Jack, but I have to telephone Dad. LEE Give my regards to your father, Mary. MARY Thanks, I will. [_She goes._] JACK Mr. Lee, I took the liberty of writing a new gag in. It’s a good hot weather gag I’m going to pull with Carter. I say to Carter, “Now that the days are getting longer, I’m going into the ice business, so that when it gets too hot to work I can sit down on my business, and—”.... GENE [_Enters_]. Mr. Robin, that tailor just brought your suit. He wants you to try it on. JACK That funny suit for the last act with the little hat? GENE Yes. JACK I want to see that. [_To_ LEE.] Excuse me. [_He goes._ LEE _is at the table sorting out some manuscripts when_ RANDOLPH DILLINGS _enters._ DILLINGS _is about 30, well tailored, poised, healthy looking. He is clearly a person of wealth and breeding—a man whose only weakness, perhaps, is that he does not know what he wants and is not intently concerned with finding out._] LEE Hello, Randy. DILLINGS Hello, Harry. LEE Come to see the rehearsal? DILLINGS No, I came to see you. Can we go to your office? LEE The office is full of people. We can talk here. What’s on your mind? DILLINGS This jazz singer of yours, Jack Robin, and Mary’s interest in him. LEE I thought we settled that a month ago. DILLINGS I’m afraid we didn’t. I’ve been thinking it over, and I’ve decided to take my money out of your show. LEE I don’t get you, Randy. You know it isn’t very businesslike of you to come here at the last moment like this and— DILLINGS This wasn’t a business arrangement in the first place—and you know it. I think you know that Mary and I were once engaged to be married. You must realize that the only reason I put my money into this show was to protect her interests. She means a great deal to me.... LEE Her interests are the same today as they were a month ago. The fact that she has discovered Jack and made me engage him does not alter anything. DILLINGS [_Quietly, without malice_]. Well, I’ve learned differently. The thing I was afraid of has happened. It was bound to happen sooner or later, I suppose—an attachment of this sort.... Now, I’m no stage-door Johnny. I have my limit, and I’ve reached it. Today I wash my hands of all responsibility for Mary’s career. Be a good fellow and don’t let’s argue the matter any more. Simply mail me a check today. LEE You’re not taking him seriously, are you? Why, he’s just a harmless kid—eager to get along— DILLINGS [_Patiently_]. You’re taking him seriously enough to prefer him to my money, aren’t you? LEE [_Pause_]. Yes, I am. DILLINGS And Mary is taking him seriously enough to risk the gossip of her friends, isn’t she? LEE Yes, but— DILLINGS I haven’t a thing against the boy. I wouldn’t know him if I saw him. But it’s clear he’s not Mary’s sort. And if she’s traveling in that direction, she’s going to travel without me. LEE [_He has made a decision; calls suddenly_]. Gene! GENE [_Enters_]. Yes, sir? LEE Get Miss Dale. [GENE _goes._] DILLINGS Here! I won’t have any of that. No scenes, please. LEE [_With grim, vulgar efficiency_]. We’re going to have it out right now. I’m going to prove to you that Jack Robin doesn’t mean anything in Mary Dale’s life. DILLINGS I won’t have Mary Dale brought into this discussion. LEE If I can prove to you that this boy doesn’t mean anything to Mary, will you leave things as they are? MARY [_Enters_]. Hello, Randolph. DILLINGS [_Nervously_]. Hello, Mary. Just dropped in for a moment. I must be running along. LEE [_A direct man if not a subtle one_]. Just a moment, Mary. Randy here thinks you are seriously in love with Jack Robin, and because of that he’s taking his money out of this show. MARY You gentlemen take my breath away with your—shall I say, delicacy? It’s very sweet of you to discuss me so intimately. DILLINGS [_Furious_]. See here, Harry, this isn’t the sort of thing— LEE The point is this—I told Randy that Jack doesn’t mean anything to you—except, of course— MARY Except what? DILLINGS Really, this is becoming intolerable. I’m going. MARY [_Half amused, half indignant_]. Just a minute, Randy. I know you too well not to understand that you’re acting, as usual, on principle. And I know Harry too well to mind his blunt ways. Apparently what you both want me to say is that Jack Robin doesn’t mean anything at all to me and that I shan’t see him after this except as one sees a fellow performer. LEE [_With a hearty sigh of relief_]. Exactly! MARY Well, I can’t say it. I like Jack tremendously and expect to see more of him than ever. DILLINGS I’m sorry this has happened. MARY Harry, does this mean that you’re going to be in a terrible fix for money? LEE I’m always in a terrible fix for money. But I’m going to put this show through with what I’ve got if it breaks me. MARY Harry—you’re a darling. LEE No—just a business man. [JACK _is heard singing and talking off-stage._] MARY There’s Jack now. Do you want to meet him? Jack! Yoo-hoo! DILLINGS No. [_But_ JACK _is already entering—in comedy costume._] JACK How do you like these clothes, Mr. Lee? Don’t you think I look just like a manager? How’s this “Between the Acts”? [_Shows a huge comedy cigar._] Long acts. MARY Jack, I want you to meet Mr. Randolph Dillings. Randy, this is Mr. Jack Robin. JACK [_Cordially_]. How are you, Mr. Dillings? DILLINGS [_Coldly_]. How do you do? [_There is a pause._] JACK Beautiful day for the opening of the new show, isn’t it? [_There is a dead silence. It is not that_ DILLINGS _wishes to snub_ JACK, _but that he is furious and confused at the situation he has been forced into, and he does not quite know what to say._ JACK _turns to_ MARY _and murmurs out of the corner of his mouth._] What’s the matter with this guy? [_Pause—to_ DILLINGS.] I say, it’s a beautiful day. MARY [_Mischievously_]. Yes, Jack, it is a beautiful day. JACK Thank God, THAT’S settled! [_There is another silence, then_ JACK _turns, good-humoredly, to_ DILLINGS. _He is like a healthy puppy wishing to make friends._] I feel that I have known you a long time, Mr. Dillings. Mary has spoken of you very often and any friend of Mary’s is a friend of mine.... DILLINGS [_To_ MARY]. Well, I must be going. Goodbye, Mary. [JACK _realizes clearly now that he has been snubbed. With a hurt expression he backs out of the scene and sits on the trunk._] LEE Will I see you again, Randy? DILLINGS I’m sorry—I’m afraid I won’t have time to see you again, Harry. LEE [_Also snubbed_]. Very well. [_He goes._] MARY Goodbye, Randy.... I know you don’t mean to be like this. [DILLINGS _pauses a second, then he bows stiffly, turns, and, ignoring_ JACK, _goes. After he has passed,_ JACK _in solemn mockery tips his hat._] JACK [_To_ MARY]. That’s that Randolph Dillings, isn’t it? I don’t think he likes me. Maybe he thinks I wear these clothes on the street. MARY He’s an old friend of mine. Fearfully rich and awfully nice, but old-fashioned. JACK Is he in the show business? MARY He was. JACK Smart enough to get out, huh?... He’s stuck on you, ain’t he? MARY We were engaged once. JACK Yeh.... Any time you see a guy act like that, you know he’s in love. Well, there’s one thing I’ll say about him, he’s got good taste. MARY Do you think so? JACK [_Moves closer to_ MARY. _She is still sitting on the trunk. All of the flippancy has left him. He is suddenly shy and very earnest_]. Yeh.... You know, if I make one-half the hit tonight that Lee expects me to make—if I go over half as big as everybody thinks I will—do you know what I’d like to do? I’d like to come over close to you, like this, and tell you ... that I love you. [JIMMY _enters._] JIMMY Mr. Robin. JACK That guy picks the darndest time to come in! JIMMY There’s a man out there asking for a Jakie Robin. His name is—[_Reads from card._]—Yudelson, Dealer in Diamonds and Jewelry. Do you know who it is? JACK Yudelson? It can’t be. [YUDELSON _enters._] Well, well, well, Yudelson! What are you doing here?... He’s all right, Jimmy. [JIMMY _goes._] YUDELSON Well, well, Jakele, what a big boy you are! I never would have known you. What a trouble I had with him! First I asked for Jakie Rabinowitz. I forgot your Mama told me to ask for Jakie Robin. JACK My Mama? What’s the matter with Mama? YUDELSON She’s all right. She told me to ask you—she asked I should say to you—[_He is obviously uncomfortable in the presence of_ MARY.] I must see you in person. JACK [_Looks around, sees_ MARY]. Oh, Mary ... I I want you to meet Mr. Yudelson. This is Miss Mary Dale. MARY How do you do? YUDELSON How do you do. [_Looks at_ JACK _as he shakes her hand._] A pleasure! JACK Mr. Yudelson is an old friend of the family. He’s known me since I was so high. [_Measures with hand._] He and my father are great friends. YUDELSON Cantor Rabinowitz and me, we are like this. [_Puts two fingers together._] JACK [_There is a pause._ YUDELSON _has revealed significant detail._ MARY’s _involuntary expression of surprise shows this._ JACK, _for an instant, is confused. Then, with pride in his voice_]. Yeh, my Father is the finest Cantor on the East Side. YUDELSON Did you never heard of Cantor Rabinowitz of the Orchard Street Synagogue? I’m surprised! MARY [_The warm, friendly smile on her face is her answer—her fraternal declaration—to_ YUDELSON _and to_ JACK]. Well I’ll run along. See you later, Jack. Goodbye, Mr. Yudelson. It was a pleasure to have met you. YUDELSON By me it’s all right, too! [MARY _goes._] JACK [_His arm about_ YUDELSON’s _shoulder, they move over to the table._ YUDELSON _sits in the chair and_ JACK _lounges on the table leaning on his elbow_]. Well, Yudelson, I’m glad to see you. Sit down. What brings you up in this neighborhood? YUDELSON Jakie, I came to tell you your papa is sick. JACK [_Site up straight_]. What’s the matter with him? Has he got a good doctor? YUDELSON The best doctor in New York. Dr. O’Shaughnessy from the Rockenfeller Institute.... Jakie, my boy, tonight starts the Day of Atonement—Yom Kippur—and this is the first time in your papa’s life what he wouldn’t be able to sing in the synagogue on Yom Kippur. So we had a meeting from the committee, who should sing in his place. Well, I was speaking to your mama, and she thought it would be a beautiful surprise for your papa if you would do it. JACK Me to sing? My God, Yudelson, he kicked me out of the house only a month ago. YUDELSON Don’t be foolish, Jakie. How much times was you kicked out—one time? A son could be kicked out twenty times, and yet a son is a son. If your papa knew you was singing tonight, it would make him happy. JACK But, Yudelson, I can’t do it! YUDELSON Nonsense. I was telling the committee—you know how it is a committee—they wanted Levy, the Shamus, should sing. But I’m the chairman, and they all owe me money, so when they voted it was the way your mama wanted. I told them, “Jakie, when he was a little boy and he sang in the choir, his papa learned him all the words of all the prayers. And what a little boy learns he never forgets....” And even if maybe a few words you should forget, you can look in the prayer book. Jakie, you can do it! I got confidence in you! And your mama—she’ll be the happiest— JACK But, Yudelson, this show opens tonight! YUDELSON What’s the matter with you, Jakie? Ain’t I telling you your papa is sick and your mama is waiting I should give her an answer? JACK [_Slowly_]. Yudelson, the show business is different from anything else. The finest actors keep right on working, even if there’s a death in the family. The show must go on.... It’s like a religion.... It’s like soldiers in an army.... LEE [_Enters with_ JIMMY]. Now remember, Jimmy, I don’t want any strangers on the stage during dress rehearsal. [JIMMY _goes._] Jack! I want to see you. JACK Excuse me, this is Mr. Lee—my boss. Mr. Lee—gee, I don’t know how I can explain this to you. Well—this is Mr. Yudelson, an old family friend. He just told me that my father, down on the East Side, is very sick— LEE East Side? JACK I held out on you, Mr. Lee, because my father and I had quarreled. I thought he never wanted to see me again. It hurt me so much that I wanted to start fresh, live a new life.... But now I find I didn’t quite understand. My father is the Cantor of the Orchard Street Synagogue. Tonight is the eve of the Day of Atonement. He and my mother sent Mr. Yudelson to ask me to sing in my father’s place tonight. I know all the prayers— LEE My dear boy, it’s out of the question. JACK Mr. Lee, isn’t there any possible chance? YUDELSON Only tonight and tomorrow until it gets dark. LEE No, absolutely not. Why you’re the whole show. I’ve staked everything on you.... Jack, I’m going to tell you something. I was an actor myself once. My mother died one afternoon, but I went on that night.... GENE [_Appears left_]. Say, chief— LEE What is it? GENE The fire underwriters are here. LEE I’m coming. [_To_ JACK, _slowly, earnestly, in a lowered voice._] Something happened a while ago that puts me in a position where I’m depending on you more than you know. Now, talk him out of it. [_He goes._] YUDELSON That’s your boss? JACK [_After a moment of thought_]. Yes.... Yudelson, do you realize what an awful lot of money is tied up in this show? It costs thousands and thousands of dollars.... YUDELSON [_Impressed, the business man in him responding_]. Is _that_ so! JACK The scenery ... the costumes ... and all the actors.... Mr. Lee is responsible for everything—and he’s counting on me. You heard him—he’s staking everything on me. YUDELSON _Is_ that so? JACK Yudelson, you’re a business man ... now I ask you, how can I leave this show ... on a big opening night ... just because my mama and papa all of a sudden ... don’t you see? YUDELSON Well, Jakie, if you can’t sing tonight, I’ll have to sit and listen to that voice from Levy’s. JACK Levy—that’s the Sexton, isn’t it? I’ll bet he’s got a fine voice. YUDELSON Yeh, like a nanny goat! Nu, what can I do? I’ll explain to your mama the best way I can. JACK Yes, try to explain to them, Yudelson. YUDELSON You’re sure you can’t come? JACK [_With feeling_]. You wouldn’t have to ask me twice. You know I’d come if I could. YUDELSON [_Shrugs shoulders_]. All right, Jakie. Well, goodbye. Leshono Tovo Tikosamu. JACK Thank you. Happy New Year to you, too. YUDELSON Look! He remembers! [_He goes._] GENE [_Off-stage_]. Dress rehearsal just starting. Everybody concerned in the opening on stage! [_From off-stage come the bustling sounds of final preparations for the dress rehearsal._ JACK _is standing motionless where_ YUDELSON _left him. A brown velvet drop comes down._ JACK _is the figure of a tragic Pierrot as he stands against this simple background in his ludicrously wide comedy pants and his ludicrously short comedy coat.... He turns ... finds himself sitting on the trunk alone, heavy-hearted._ LEE _comes bustling in. He goes over to table, not seeing_ JACK. _He is busy with a manuscript for a few seconds, then he feels_ JACK’s _presence; looks up._] LEE Well, Jack, that old boy from the East Side has gone, eh? JACK [_Barely raising his head_]. Yes, he’s gone. LEE [_Goes over to_ JACK]. Talked him out of it, did you? JACK [_Slowly_]. Yes, I talked him out of it. LEE I knew you could do it! You’re clever enough to get away with anything.... Just think of it, one more rehearsal and then the big opening. Aren’t you thrilled? Tomorrow everybody will be talking about you. JACK [_To himself, in barely audible tones_]. This is the first time in his life he won’t be able to sing in the synagogue.... LEE What’s that, Jack? JACK [_He rises, with a visible effort to shake himself out of his mood. He turns to_ LEE _and begins walking off with the manager_]. Oh, yes, Mr. Lee. I’ll do the best I can tonight—I only hope I won’t disappoint you. [_The words are scarcely out of_ JACK’s _mouth when music is heard blaring off-stage, and the lights black out._] CURTAIN SCENE 2 Scene 2: JACK’s _dressing room a few minutes later._ JACK _enters looking very unhappy. Automatically he glances at himself in the mirror, takes off his tie, his coat, his trousers, revealing another pair underneath. Then he sits down before the mirror. There is a knock at the door._ JACK Come in. [MARY _enters. She is in pink costume. As she opens the door, music off-stage is heard. As the door closes the music is muted._] MARY Hello. JACK Hello. MARY Well? JACK Well, what? MARY Haven’t you anything to say about my costume? JACK Oh ... it’s nice ... very nice.... MARY What enthusiasm! [_The dialogue that follows goes on while_ JACK _is preparing his make-up. He moves about occasionally, going from his dressing table to the wash-basin, to the clothes closet. This movement and this general business of his hands give an air of casualness to the rendition of lines which are anything but casual in their meaning to_ JACK _and to_ MARY.] JACK Gee, Mary, I’ve got other things besides costumes on my mind. MARY What is worrying you? That man who was here just now? [JACK _nods._] What’s the matter with him? JACK Nothing the matter with him. He brought me some news about my father and mother. MARY Oh, it isn’t fair! It isn’t fair for him to disturb you when you are all keyed up before your opening tonight.... Oh, Jack—I just want to keep you away from everything—from everybody—until tonight is over. JACK You’ve got the right hunch all right. Mary, Yudelson told me things that are making me hate myself. MARY Tell me about it. Maybe I can help. JACK No, if I told you about it, you’d hate me, too. MARY I don’t think anything could make me hate you, Jack.... [_There is a pause. She leans back, pretends to be absorbed in the ruffles on her costume._] Did you mean it ... when you said you loved me? JACK Sure, didn’t you know that? I’m crazy about you.... MARY No, I didn’t know it.... Jack, since you told me about your father I’ve been thinking about you. I can’t get you out of my mind. A son of a Cantor.... JACK Maybe it’s better that you _should_ get me out of your mind. Maybe it would be better if I got you out of _my_ mind.... Since Yudelson was here, I got a different slant on everything.... Yudelson and me, Dillings and you.... We’re far apart. We’re worlds apart. [_He is now standing by the wash-basin filing a small bowl of water, and he moves slowly back to the dressing table carefully balancing the water._] MARY You don’t have to worry about Randolph. I’m not like him. JACK Well, you’re certainly not like _me_.... I know what you’re figuring. I’m a rough diamond—you’ll get me and polish me. Well, it’ll never happen. I’m going to be what I am all my life. And you’re going to be what you are. MARY [_Slowly_]. Then why did you say you loved me? JACK [_Pause_]. Do you really want to know? [MARY _nods her head breathlessly._] Because I couldn’t help it. Love means marriage to me, and marriage means a home and kids.... I—I’d like to have a kid like you ... a little boy—but like you.... Gee, I’m crazy about you! MARY [_Quaintly_]. Say it again! JACK I ain’t going to say it no more ... because I’ve got no right to say it.... Yudelson came and told me— MARY You’ve simply got to forget.... Let’s just talk about you and me. JACK I can’t forget what Yudelson said. He said my father is sick. Tonight is the eve of the Day of Atonement—the most solemn Jewish holy day of the year, the big day of every Cantor’s year. You know what a Cantor is? He’s the mouthpiece of the congregation. He sings to God. My mother sent Yudelson to ask me to sing in my father’s place. You don’t know what it means to them. For five generations the Rabinowitzes have been Cantors. The name Rabinowitz is like a trade mark on Orchard Street. No substitutes will do.... MARY What did you tell Mr. Yudelson? JACK What could I tell him?... The most important part of the services will be starting just about the time I have to go on the stage tonight.... I told him no, that I wouldn’t miss this opening, not even for my father and mother. MARY [_Gravely_]. I am glad you said that, Jack. JACK Glad? MARY Yes, my dear. You’ve got to think only of your work. JACK I’ve tried so hard to do that, but ... Mary, here’s something I never told anybody in my life.... Sometimes when I’m alone—and I’m alone a lot more than you think—the old songs from the synagogue start wailing in my ears ... and I—I cry.... In that hall bedroom in Chicago, I used to get down on my knees in the dark and talk to God in Hebrew. I—bawled him out ... because he made me only half a Cantor—half a Cantor, and half a bum. [_He begins to black up._] If I was all bum, I wouldn’t care. What does a bum care? But if I was all Cantor, I would be happy. MARY Would you? JACK I think I would. MARY Then why didn’t you go with Yudelson? JACK [_As he blacks up_]. Why? You know why—people like you—like Lee. I’ve got Broadway in my blood. There’s something sweet about the sound of the English language in my ears.... I want to be part of America. I want to take it in my arms.... Gee, I wish I could express myself!... MARY [_Understandingly_]. My dear, I think I realize what you’re going through. JACK No you don’t.... [_Intently._] Mary, my father is sick because of me. MARY [_Quickly_]. Nonsense. JACK He said a month ago he never wanted to see me again. I can see him now, eating his heart out ever since. MARY [_Gently_]. What can you do about it? Go down on the East Side and be a Cantor the rest of your life? JACK No. [_Pause._] MARY Don’t you care about your career on the stage? JACK [_Passionately_]. It’s the only thing in the world for me. MARY The only thing? JACK Yes, the only thing. MARY [_Slowly_]. More than me, Jack? JACK More than you. MARY [_Swiftly, with feeling_]. That’s what I’ve been waiting to find out. [_Music begins again off-stage._] Oh, don’t you see, Jack—I don’t want you selfishly. I want to see you live your own life. If the thing you want most is to be a black-face minstrel, then don’t let _anything_ stand in your way—not your parents—me—anything.... JACK [_He is finishing blacking up_]. I guess you’ve got the right idea, Mary. You’re O. K. [_There is a knock on the door._] Come in. GENE [_Enters_]. Time you’re ready for your first number, Mr. Robin. JACK I’m almost ready now, Gene. GENE All right, Mr. Robin. [_He goes._] JACK Hear that music? That’s that new fox-trot. [_Hums, crosses stage and washes hands._] It’s a steal from something.... Mary, you know, if people only knew what it was to black up like this, I bet everybody would do it. What’s the name of that bird that puts his head in the ground and thinks he’s all covered up? MARY Ostrich? JACK Well, I feel like him with this black on. It covers your face and hides everything.... You know, Mary, this would be a good job if I didn’t have to buy so much soap. [_Crosses to make-up shelf. Another knock on the door._] Come in. JIMMY [_Enters, leaving door wide open. Music swells until door closes_]. That man, Mr. Robin, the one who was here a while ago—he’s back. He insists on seeing you at once. JACK [_Visibly affected_]. It’s Yudelson.... Tell him he’ll have to wait until after this number. JIMMY There’s somebody with him—a lady. JACK A lady? MARY I’ll go, Jack. [_She starts._ JACK _stops her._] JACK No, Mary. Stay here. [JACK _moves swiftly in front of her. He has almost got to the door when_ YUDELSON _enters, followed by_ SARA. _She has evidently come in great haste, for all she wears is a shawl over her house dress. She is almost exhausted from the trip, and numb with the emotions with which she is stricken._] Mama! SARA Jakie, this ain’t you.... YUDELSON It’s a nigger! JACK [_In sudden agony_]. Yudelson, didn’t you tell my mama? YUDELSON I told her everything, the same way you told me, Jakie, but she made me I should bring her here. SARA [_In a monotone_]. Jakie, your papa is sick. He is laying in bed. His face is white.... JACK Mama, sit down, please. [_All this happens very quickly. And now_ JACK, _for an instant, has forgotten everything except his mother’s presence. He places a chair for her and automatically sinks back in his chair, arms on knees, facing her._] SARA [_Continues numbly, hardly seeing the youth in blackface_]. All the time he is talking about you. His eyes is open like a baby’s eyes. His face is white like a _yahrzeit_ candle. He was saying, “Sara,” he said—his voice was so low, I could hardly hear him—“maybe Jakie will sing tonight in the synagogue....” JACK [_Strangely touched_]. He really said that, Mama? SARA He said it—the way I’m sitting here this minute, he said it.... For five generations God always heard a Rabinowitz sing every Day of Atonement, every holy day, every Sabbath. God is used to it now.... Maybe your papa is dying. God will ask him, Is Jakie singing in the synagogue tonight? How can he say, No, he is singing in a theatre!... Oh, my son, my heart is breaking in pieces.... You got two hours before the sun goes out of the sky and it gets dark. Come with me home, Jakie. JACK [_Despairingly, head sunk on his chest_]. Mama, I can’t. I can’t do it! SARA [_In a more intense monotone_]. How can you say this to me, your mama?... When you was a little boy, we were so poor.... I slaved my fingers to the bone that there should be money to buy you nice things. My fingers, they used to bleed. Look at my hands, Jakie. It is still there the marks. JACK [_Bends over her hands_]. I know, Mama. I know. GENE [_Enters._] Your specialty’ll be on in a minute, Mr. Robin. JACK All right, Gene.... Mama, I haven’t time to tell you—I’ve got to go on! Yudelson ... Mary ... tell my mother.... MARY I’ll go out and see if I can’t hold them for a moment. [_She hastens out._] SARA [_As if in a trance_]. Your papa said, “Ask Jakie he should forgive me. He is doing things from sin, but he don’t mean it. In his heart he is a Rabinowitz”.... Jakie, the way I’m sitting here, before God I swear it—that is what he said. JACK [_His voice almost breaking_]. I believe you, mama! I believe you! GENE [_Enters again_]. We’re waiting for you, Mr. Robin. We can’t hold it any longer. JACK [_Frantic_]. Yes, yes, I’m coming!... Mama, if you only knew how the manager is depending on me.... [_Off-stage can be heard the introductory chords to a jazz song._] They’re going to make me a star, Mama.... GENE [_With irritated finality_]. There’s your introduction, Mr. Robin! [_He goes._] JACK Yes, yes! [_He is now in full comedy costume and is kneeling before his mother._] Mama, there’s my introduction—wait here fifteen minutes—I haven’t got time to tell you.... Yudelson! Please talk to my mama. GENE [_Enters again_]. Mr. Robin, they’ll blame me for this! JACK Yes, yes, I’m coming. Mama—Yudelson—wait! Please! [_He goes. The door is open. We see the changing lights through the door._ YUDELSON _gently forces_ SARA _into a chair by the door as we hear_ JACK _off-stage shouting the comedy lines of the beginning of the act.... “I’m going down South to the land of cotton and jasmine, where the watermelons grow, where I can be with my Mammy. If you’ll all sit down I’ll sing you a song all about it”...._ _Then the orchestra throbs into wailing, syncopating life, and_ JACK _is heard, off-stage singing a verse and chorus of “Dixie Mammy.” His rendition is excellent jazz—that is, it has an evangelical fervor, a fanatical frenzy; it wallows in plaintiveness and has moments of staggering dramatic intensity, despite the obvious shoddiness of the words and the music. We are listening to a Cantor in blackface, to a ritual supplication on the stage, to religion cheapened and intensified by the trappings of Broadway. He finishes his first chorus._] YUDELSON [_Crosses to the door, listens_]. That’s Jakie. [JACK _is going into a complicated staccato “talking” dramatization of the last half of the chorus—something like this:_ _“I—want—you—to—understand...._ _That—it’s—my—mammy...._ _My—mammy—I—tell—you...._ _And—my—daddy...._ _You—bet...._ _Your—life...._ _It’s—my—mammy—and—daddy, I—tell—you...._ _I’m—going—back—_ _I’m—going—back—down—South—_ _Down—South,—I—tell—you....”_ [SARA _rises, a broken creature, her frail body barely able to carry her out. She moves out of the door,_ YUDELSON _following her, trying to detain her._] SARA That ain’t my Jakie! That ain’t my boy!... I’m going home! [_The stage is empty. We see the grotesque, elongated shadows of_ SARA _and_ YUDELSON _against the multi-colored lights back-stage as they pass, evidently out of the theatre. We are hearing_ JACK’s _last line of the song—_ _“I’ve had my fling, And it don’t mean a thing—”_ _His voice breaks. He repeats in intensely personal agony, “It don’t mean a thing ... it don’t mean a thing—my God!—it don’t mean a....”_ _There is a sudden awkward silence—a silence of a fraction of a second; and then we hear, offstage, a surge of congratulations. We hear_ CARTER’s _voice, the voices of women,_ GENE’s _voice. The next instant_ JACK _is in the door-way. He sees that the dressing room is empty. He turns, helplessly looking about. He knows it is no use—that his mother has gone. He stands for a second brushing the eyes of his blacked up face with his white glove._ _And then_ CARTER, GENE, _half a dozen chorus girls, and_ FORBES _break in upon him. They are enthusiastic, excited, congratulatory. Their remarks tumble one on top of the other in a confusion of sound:_ _“I take off my hat to you,_ Jack_!”_ _“You certainly can put over a song!”_ _“Oh, Mr. Robin, it was wonderful!”_ _“It was grand, Mr. Robin—just grand!”_ _“You won’t need a press agent after tonight, old fellow!”_ _“It was just gorgeous—simply gorgeous!”_ LEE _plunges in and scatters them all, crying—“Get out for the next number!” ... and_ LEE _and_ JACK _are alone._ JACK _is standing, his back to_ LEE, _his head bent._] LEE Jack, that was wonderful! Why, you actually cried! Say, do it that way tonight and you’ll be a knock-out. [LEE _bolts out, calling as he goes._] All right, Gene! Ready for the next number! [JACK _is alone on the stage. He sinks into a chair as the curtain falls._] ACT THREE SCENE: _Same as Act I._ TIME: _About an hour and a half after Act II._ AT RISE: _Stage is empty. Since it is about six o’clock on a September day, the light is beginning to wane. Throughout this act, dark gradually creeps into the room, while outside the window a bar of sunset radiance deepens in contrast._ _There is a knock on the door, and_ LEVY, _the Shamus, or Sexton, corner in. He looks about, opening one or two doors, and apparently he finds no one. He shrugs his shoulders, muttering and humming to himself, and is about to go out when_ MOEY _enters from the music room._ LEVY Where is Mr. Yudelson? MOEY He went with Mrs. Rabinowitz to take the Cantor to the hospital. LEVY Is he coming back here? MOEY Sure he’s coming back. He told me to wait here and he’d give me a dime. LEVY Well, you tell him I got to see him personal—it’s very important. I’ll be back. [LEVY _goes._ MOEY _looks out of the window with the air of a conspirator, takes a cookie from his pocket, munches it, draws a lurid dime novel from another pocket and settles himself comfortably to read. The door opens and he hastily thrusts the dime novel under the table, jamming the rest of the cookie, evidently stolen from the kitchen, into his pocket._] SARA [_Enters, followed by_ DR. O’SHAUGHNESSY _and_ YUDELSON. _Her face is deadly pale and lined with suffering. She is so weary that she can hardly move. She says over and over again_]. He didn’t want I should stay with him.... My Yosele didn’t want I should stay with him. [_The doctor helps her over to the settee; then he takes bottles from his medicine case and prepares a potion for her._] YUDELSON Did anybody come, Moey? MOEY Yeh, a lot of people. Gee, Mrs. Schultz from upstairs, and Mrs. Lefkowitch ... and a lot of people. YUDELSON Did you tell them— MOEY Yeh, I told them you were taking the Cantor to a hospital. YUDELSON Did they said anything about Jakie? MARY Yeh, they all asked about him, and if he’s coming to sing. And Mr. Levy was here three times. He said you should see him as soon as you came. YUDELSON All right, Moey, you can go—you’re a good boy. Here is the nickel I promised you for minding the house. MOEY [_Takes nickel_]. You promised me a dime. YUDELSON [_Takes it back_]. That’s right. I’ll give you later! [MOEY _goes, saying “Aw!”_] DOCTOR Here, drink some of this. You’ll feel much better. SARA He didn’t want I should stay with him. My Yosele didn’t want I should stay with him— DOCTOR That’s very natural, Mrs. Rabinowitz—the Cantor is weak. He needs the quiet of a hospital. SARA Quiet he needs? You think he’s laying there in the hospital quiet? Why did I tell him Jakie ain’t coming? Why didn’t I tell him a lie? DOCTOR Now, drink this. Then you must lie down for a half-hour. And then you simply must eat. You promised the Cantor you were going to attend the services, you know, and you must have some nourishment if you’re going to fast tonight and tomorrow. SARA Doctor, tell me the true. The Cantor, he’s dying? DOCTOR [_Pause_]. I think, if we keep him very quiet, he’ll come through. He has a powerful constitution. Come now, Mrs. Rabinowitz, take this. YUDELSON Yes, drink, drink. [_She obeys._] DOCTOR Now, let me help you into your room. Just lie down for a little while—[_He takes her to door._] Stay here as long as you can, Mr. Yudelson. And keep the neighbors out. YUDELSON I did that already. [_The doctor goes into_ SARA’s _room. A knock, and_ CLARENCE KAHN _enters._] CLARENCE [_He is excited_]. Mr. Yudelson! I don’t know what to do with the choir! YUDELSON What’s the matter now? CLARENCE They don’t want to sing tonight. YUDELSON They don’t want to sing? CLARENCE They say Mr. Levy doesn’t know any of the Cantor’s tunes, that his voice is inadequate, and that he’d be better off singing alone than spoiling the services with a choir. YUDELSON [_Slowly_]. They’re loafers, but they’re right.... What can I do? The members are paying a special assessment five dollars for the Day of Atonement singing.... If Levy sings, they’ll want we should give them the money back. CLARENCE Have you tried my cousin, Avram Lipski? He came from Russia last week. He lives around the corner. YUDELSON Why didn’t you speak from this before? Avram Lipski I know—at least a voice he’s got. LEVY [_Knocks and enters_]. Aha! Mr. Yudelson! You’re just the man I was wanting to see! YUDELSON [_Coldly_]. Nu, Mr. Levy—? LEVY [_Smugly_]. I must get from you official the order I should sing tonight. YUDELSON [_Brusquely_]. Oh no, I couldn’t give you yet. LEVY If you couldn’t give me, who could? YUDELSON _I_ could give you, but I couldn’t give you yet. LEVY What kind answer is this? It’s nearly dark, and you couldn’t give me official the appointment yet? CLARENCE [_Follows_ LEVY]. Mr. Levy, several points of view must be taken into consideration. The choir must be considered, for instance. YUDELSON I told you, I couldn’t give you yet. In half an hour I’ll know. LEVY In a half an hour it will be too late. I got to practise a little bit in advance with the choir, ain’t I? YUDELSON In half an hour it’ll be too late? For thirty years you waited the Cantor should get sick, you can wait another half hour! LEVY [_Undaunted_]. Brother Yudelson, you are the chairman from the Executive Committee, no? YUDELSON Brother Levy, I am the chairman of the Executive Committee. Make yourself a _tsimmes_ from it. LEVY All right—_all_ right. _Then_ you are the chairman from the Executive Committee. So I want to _ask_ you, who is the shamus of the Orchard Street Synagogue? Am I the shamus oder _ain’t_ I the shamus? [_The argument has reached its vociferous height when suddenly the door is opened and_ JACK _stands on the threshold. His appearance cuts the noise of the three men in the room as if with a knife. They stare at him open-mouthed. He is out of breath. He is a young man who has made a grave decision, and that decision has already given him a new dignity. In an instant, pale and quiet, he is by_ YUDELSON’s _side._] YUDELSON [_The first of the three to recover_]. Jakie! JACK Yudelson, get me a praying shawl, and see if you can find a plush skull cap like the Cantor’s, only a little smaller. YUDELSON [_Triumphantly_]. A praying shawl and a skull cap! Jakie is going to sing! CLARENCE Jack is going to sing! [_He rushes out with the news._] YUDELSON Levy, get a praying shawl and a skull cap, quick! LEVY Where could I find— YUDELSON You’re the shamus, ain’t you? For a shamus it ain’t hard to find plenty praying shawls. LEVY [_Moves to the door, protestingly_]. He’s going to sing? A young boy from Broadway! What does he know from Shool? The committee is making a big mistake—[_He goes._] YUDELSON [_Calls after him_]. I’ll speak from this at the next committee meeting. [_Moves over to_ JACK, _deep feeling in his voice._] Jakie, I’m so glad you came.... I’m so glad. [JACK _moves to the_ CANTOR’s _room._] Where you going? JACK To see my father. YUDELSON He ain’t there. [JACK _stops._] We just took him to the hospital. JACK [_Dazed_]. Hospital? YUDELSON Yes. Gouverneur Hospital. [_Pause._] JACK Where’s Mama? YUDELSON She’s inside. You stay here. I’ll call her. [_He goes out, calling._] Mrs. Rabinowitz! Mrs. Rabinowitz! Jakie is here! Jakie is here! [_He comes back._] SARA [_Can be heard, her voice throbbing_]. Jakie here? [_She enters._] I knew you was coming, Jakie. I knew you was coming! [_She sinks on the settee and for the first time tears stream from her eyes._] Oh, my Jakie ... my darling ... I knew you was coming.... JACK Mama, Mama.... I couldn’t stand it.... I had to come.... Yudelson told me about Papa—[DR. O’SHAUGHNESSY _enters._] Hello, Dr. O’Shaughnessy. DOCTOR How do you do, Jakie. JACK [_Slowly_]. Is my father ... worse? SARA Oh, Jakie, he’ll be better now—he’ll be better. The doctor will tell him. Doctor, please go right away and tell the Cantor Jakie is here. JACK I’ll go with you, if you don’t think it’ll do any harm. DOCTOR Better not. It might excite him too much to see you. I’ll tell him. It’ll do him all the good in the world.... SARA [_Sudden fear in her voice_]. Jakie—you’re going to sing, ain’t you? JACK Yes, Mama. SARA [_In surging excitement_]. Doctor, tell the Cantor Jakie is going to sing!... Couldn’t I please speak with him on the telephone? DOCTOR No! That’s impossible, Mrs. Rabinowitz. [_He is moving toward the door._] SARA Doctor, remember to tell him everything. DOCTOR Yes. SARA Tell him Jakie came right away. DOCTOR Yes, yes. SARA Tell him Jakie looks beautiful! DOCTOR I’ll tell him. SARA Tell him Jakie is standing on pins and needles, so anxious he is to practise with the choir. Tell him Jakie ain’t even _thinking_ from no theatre. DOCTOR I’ll tell him, Mrs. Rabinowitz. SARA Don’t forget! DOCTOR I won’t. And don’t _you_ forget to eat and get a good night’s sleep. Goodbye. [_He goes toward the door, stopping by_ YUDELSON.] My telephone number’s on this card. I’ll be at the hospital. If you want me call me there. [_The_ DOCTOR _goes._] JACK The doctor said you must eat, Mama. SARA Sure I’ll eat. And you, too. I made ready such a lot to eat before fasting. JACK I don’t want anything, Mama. SARA Never mind, I’ll make you anyway a cup of tea. [_She goes into the kitchen._] YUDELSON You see, she’s a new person already. JACK [_In a low tone_]. Yudelson ... don’t tell Mama ... but I left without even seeing the boss. Just as soon as the dress rehearsal was finished, I told the stage manager I wasn’t going to show up.... Well—you were there. You know what I told you about the show.... YUDELSON [_Impressed_]. It’s a lot of money, and you’re throwing it away for your papa! JACK It isn’t the money, Yudelson. Mr. Lee believed in me, and I left him flat. [_He sits wearily._] YUDELSON Never mind. Never mind. Don’t worry from bosses. A papa is hard to find, but bosses there’s planty.... JACK I’m finished. YUDELSON Jakie, don’t worry. You can always have a job in my store. JACK [_Nervously drumming with his fingers_]. Why doesn’t Levy show up with that praying shawl? Why does everybody take so long? YUDELSON [_Moves to the door_]. I’ll get him, Jakie. JACK Is the choir ready for a quick rehearsal? YUDELSON Everything is ready. JACK I want to go over at least Kol Nidre once. YUDELSON They’re standing all ready now waiting—I’ll bring your praying shawl and a skull cap. Everything will be all right. [YUDELSON _hastens out._ JACK _sits in silence for a moment; then, head in his hands, he begins humming to himself the plaintive, majestic cadences of Kol Nidre. He might be his own great grandfather in the Russian Ghetto hidden in some dark cellar praying to a forbidden God, as he sits there, weary, determined, humming a tune thousands of years old. He does not hear the repeated knocks on the door._ LEE _has opened the door and entered, and is half-way toward JACK before the boy sees him._] JACK Mr. Lee! LEE I got your message. Gene gave me the address. [_He crosses to_ JACK. _They both are standing, tense._] Do you realize what you’re doing? JACK I’d rather cut off my right arm than do this to you. LEE Forget me—think of yourself. You’re a young fellow. Tonight is the chance of a lifetime for you. JACK I know it. LEE You may think in your heart you’ll succeed anyway. I know better.... If you don’t come through for me tonight, I could never bring myself to engage you again. Rumors will creep out on Broadway. Your name will be mud. Stage people have little sympathy for the sort of thing you’re planning to do tonight.... JACK [_Dully_]. I know it, Mr. Lee. I don’t want any mercy. [_Sinks into the settee._] LEE [_Shifts his tactics_]. How sick _is_ your father?... Is he too sick to be talked to?... I should think he’d be proud of you when you tell him what a great opportunity you’re getting.... JACK He couldn’t understand any more than you can understand. LEE Why _are_ you doing this? JACK I don’t know.... I’m doing it.... Isn’t that enough? LEE Well, I’ll _tell_ you why you’re doing it— JACK Don’t give me any more analysis. It gives me a headache. LEE It’s going to give you a much greater headache when the lawyers get after you. JACK Lawyers? LEE You know, my boy, you signed a pay-or-play contract. And you didn’t sign it with me as an individual. You signed it with a corporation of which I am the president. That corporation has stockholders. Those stockholders vote.... JACK When you hired me, did you have to ask the stockholders? LEE No. JACK Then _fire_ me without asking them.... [_He rises, drops into chair by table._] And keep the lawyers away, Mr. Lee. I don’t know anything about law. LEE [_Closes in on_ JACK]. Now listen. This afternoon I broke with my biggest backer on your account. And now my own money—every dollar I have on earth—is at stake.... I hate to bring in the personal element, Jack, but you have it in your hands either to make or break me. JACK [_Head sunk in his hands_]. It’s your money against my father’s life, Mr. Lee. What can I do? LEE I’ll tell you what you can do. You have one hour to get back to the theatre and live up to your contract with me. JACK Why can’t you postpone the opening of the show? LEE I postponed this show twice because of you. The owners of the theatre have a show of their own they want to bring in. They’ll jump at this opportunity to put me out. JACK Why don’t you get another theatre? LEE At this time of the year? [_With sudden furious indignation._] You’ve got a lot of nerve, asking me that! Nobody ever did that much for me, and I’ll be damned if I’ll do it for you! JACK You’re hard. LEE You bet I’m hard. I’m in a hard business. It’s like being in an army. The soft man gets licked. You’re soft—and you’re getting licked. JACK [Raises his head]. Soft, because I’m giving up the biggest night of my life to keep my mother’s heart from breaking? Soft, because I’m going to pray in a synagogue so that my father can be proud of his family name—so that my father may live?... You think it’s going to be easy for me to stand there singing stuff that doesn’t mean anything to me anymore and give up playing to a big Broadway opening night?... Soft because I’m giving up the only girl I ever loved— LEE Giving her up? JACK Yes, giving her up. She’s like you. Hardened to the stage idea. She thinks I’m soft, too—sentimental. Don’t you think I went through hell before I came down here? LEE [_Harshly_]. You’re kidding yourself. You really want to sing in a Synagogue tonight. You’re getting a kick out of feeling like a martyr. I’ve seen this sort of thing before. First-rate people don’t pull it. If you were made of the stuff that succeeds, you, with your brains and personality, could have talked your father and your mother out of it.... JACK What’s the use of words, Mr. Lee? My father’s religion is a stone wall, and so is your business. [_Rises._] I took my chance.... Good-bye, Mr. Lee—I have to run along. SARA [_Enters from the kitchen_]. Jakie, I got ready for you a cup of tea. JACK Not now, Mama. [_There is a pause as he and_ SARA _regard each other._] This is my mother, Mr. Lee. Mama, this is Mr. Lee, the producer of the show I was rehearsing with—my boss. LEE How do you do. SARA I’m pleased to meet you. JACK I’ve got to practise with the choir. I’ll be back. [_He goes. There is a silence._] LEE Do you mind if I use your telephone? SARA Go ahead—use all you want. LEE Thank you. [_Goes to phone._] Circle 13876.... SARA You are Jakie’s boss? LEE Not any longer.... Hello. I want to talk to Gene. Mr. Lee. Tell him to call me here as soon as possible. This is Orchard 5374. [_Hangs up phone._] SARA You know Jakie’s papa is sick? LEE Yes. I know. SARA [_Slowly_]. You got a papa? LEE [_Gently_]. I had a father, and I had a mother, too. They both died while I was working. I was working for another man. I had to attend to my business, and I did. SARA Your papa and mama wouldn’t attend to _their_ business if _you_ should die, God forbid. LEE My father and mother were on the stage all their lives, and I know they were proud to have me stick to my duty. SARA That’s what Jakie is doing ... his duty. LEE I’m sorry, Mrs. Rabinowitz, if I don’t seem to sympathize. But my relations with your son are business relations. He owes me a great deal. SARA From business I don’t know. All I know is what is in my Jakie’s heart. In his heart is love for his God and for his papa, and he wants tonight to sing to God the way his papa learned him.... Don’t you know this?... You looked at Jakie. Couldn’t you see this in his eyes? LEE Pardon me. [_At phone._] Yes? Gene? SARA I got to go to the kitchen. I forgot to light my candles. [_She goes._] LEE Gene, do everything just as I laid it out before I left. We positively open tonight. Let Carter do all Robin’s scenes and numbers. He’ll do until Valentine can get up in the part. Now connect me with the booking office. [_There is a knock on the door._] Come in! [MARY _enters._] Mary! How did you get down here? MARY Gene told me I’d find you here. LEE [_In phone_]. Hello. Anthony?... Did you hear from the booking office?... No, I told you to tell them we will not postpone. Jack Robin suddenly taken ill. Carter will appear tonight.... Did you wire Todd Valentine?... Good. Stick to the figure I gave you, but if he’s obstinate, double it if you have to—but close it in tonight by wire. He can work in every number we’ve got.... Goodbye.... I’ll be back later. MARY Harry, aren’t you a bit hard on Jack? He doesn’t really want to do this, you know. He has to. LEE Oh, no. He doesn’t have to. That boy is sentimental about his mother and father. He’s willing to be a failure just to be able to say, “I did it for my parents.” MARY You’re just as big a baby as he is! Jack is crazy to make good for you. You ought to know that. LEE You didn’t talk to him. I did. MARY [_Frightened_]. You talked to Jack? What did he say? LEE He’s going to stay down here. MARY For good? LEE How should I know? MARY [_Despairingly_]. Sometimes, Harry, when I hear you big successful men in critical moments, I wonder how you ever got where you are. You know so little about why people do things. You ought to know, Harry, that Jack will be back in three days, ready to sing his heart out for you. LEE [_Impressively_]. You just take one look at that boy and you’ll change your mind. MARY Where is he? I’ve got to talk to him. LEE What do you want to do with him? MARY I’ve got to bring him back to his senses. He must not stay down here. It would ruin his whole career. LEE [_Thoughtfully_]. You can’t do anything with him.... Maybe you can with his mother.... That’s why I stayed behind. I want to talk to her just once more.... I want to convince her that he belongs to us, and not down here. MARY [_Sits, her voice deepens_]. Harry, have you met his mother? LEE Yes. MARY She’s real.... That’s why it took me so long to make up my mind. And then I realized that if I could show her the truth—[SARA _enters_]. How do you do, Mrs. Rabinowitz? SARA Hello, lady. Your name I don’t know, so excited I was in the theatre. You came maybe you should hear Jakie sing tonight? MARY Where is Jack, Mrs. Rabinowitz? I’d like to see him. SARA Right now you couldn’t see him. He’s in the synagogue. He’s practising with the choir. Open the window, and you could hear him just like you was sitting there. LEE Miss Dale wants to talk to Jack. SARA [_Stops, looks at_ LEE]. Miss Dale is from you a friend? MARY I’m a very good friend of Mr. Lee’s. SARA If you are a good friend from him, then with Jakie you shouldn’t speak tonight. MARY I’m afraid you don’t understand. I’m a good friend of Mr. Lee’s, but I’m also a very good friend of Jack’s. SARA A good friend from Jakie’s would leave him alone tonight. I am Jakie’s mama. Did I made him he should eat? No.... He wants he should practise with the choir. So I let him go hungry. Sometimes love lets people go hungry. MARY I love Jack, too, Mrs. Rabinowitz—and that’s why I want him to go to the theatre tonight.... It’s his one great opportunity. [_A pause._] You know, I found him. SARA You found him? MARY I recognized his ability—I helped him to realize his own powers. [_Tensely._] Oh, please, can’t you understand? I’m trying to do the one thing a woman can do for a man. LEE [_He has come to a decision and now breaks in_]. Mrs. Rabinowitz, let me ask you a question.... When was the last time that Jack attended a synagogue? SARA When he was confirmed. He was thirteen years old. He sang a solo in the choir. It was beautiful. LEE Mary, did he ever attend a synagogue during the time you have known him? MARY No. LEE Mrs. Rabinowitz, he ran away from all this, [_Indicates the room_] didn’t he? SARA [_Slowly_]. Why are you asking me like this questions? LEE [_Crescendo_]. Because I want that boy to be true to himself. Do you suppose the Cantor would want Jack to sing unless he sings with the heart of a Jew? I know that boy. He’s saying to himself, “My career is gone. The girl I love is losing faith in me. I don’t want to sing this stuff that I don’t understand—to a God whose meaning I don’t get.” He’s saying to himself, “My mother will be heartbroken if I don’t do it. My father will die. That’s why I’ll do it.” SARA [_In a faint voice_]. No, no. You are telling me lies! MARY [Moved]. Harry—let’s go—can’t you see you are hurting— LEE [Rising to his climax]. Supposing the Cantor could see into Jack’s heart? Do you know what he would see there? Jazz music, _nigger music_—if you want to call it that. Do you think that would make him happy? [_The door opens and_ JACK _enters. The evening light has deepened._ JACK’s _face is white, his eyes burning black. There is a new quality in him; he has become fanatic_]. JACK Mama, you better get ready. [_He sees no one, apparently, except his mother._] The services will begin soon. [_Now he sees_ MARY. _Carefully laying down the praying shawl and skull cap he brought with him, he turns to her. He speaks quietly._] You came! MARY Yes, Jack. JACK [_Simply_]. I’m glad. SARA Jakie. JACK Yes. SARA I want to ask you something.... JACK Yes, Mama. SARA I want you should tell me the truth. JACK Yes, Mama. SARA Jakie, I want you to do only what is in your heart. Answer me: Are you singing tonight because you love me and your Papa and your God—because you want to be in the Synagogue on the Day of Atonement—or is your heart far away in theatres with jazz music? JACK [_Turning upon_ MARY _and_ LEE]. What are you people doing here—what are you trying to do to me? MARY We’re here for your sake, Jack. JACK Did _you_ put this into my mother’s head? LEE I did, Jack. MARY So did I.... Oh, Jack—don’t you understand? I love you. I love you enough to be cruel to you for your sake. Oh, my dear, tell me that you are true to yourself, and I’ll go. I’ll go and I’ll come back to you. Tell me that you lied this afternoon when you said that the only real thing in your life was your career—tell me that you lied every time you got up on the stage in that Madison Street movie house— JACK [_Turns on her with an effort_]. Mama, get ready. We’ll be late. LEE [_Mercilessly_]. All we want is the truth, Jack. When I came in here—when I talked to you, didn’t you want to come back with me? _In your heart didn’t you want to come back?_ MARY Jack—this afternoon, when you were talking to me, you told me—you said— SARA Jakie—did you _want_ to come? JACK [_Sinks into chair. He is defeated_]. No. SARA [_Leans over him_]. And yet you came ... you came home ... and you was singing with the choir.... JACK Yes, I came home.... [_There is a silence_]. SARA [_Her voice sings a hymn of sacrifice_]. It’s enough. I didn’t know until today how different your life is from your papa’s, from mine. I didn’t understand that by you being a ragtime singer is like by your papa being a Cantor.... Jakie—do what is in your heart.... Always you can come back to me. I’m your mama.... But if you sing tonight and God ain’t in your heart, your Papa he’ll know.... All his life your papa loved God and the truth. Maybe if I tell your papa, he will understand.... JACK [_On the point of collapse. His voice is bitter, sardonic in defeat_]. Me a Cantor.... Funny—that’s what it is—funny.... I was just rehearsing with the choir, and they were like strangers to me—the same little boys that I used to play with—and they were strangers to me!... Sure! I’m from uptown—Broadway.... Seemed like every one of them was pointing his finger at me and saying, “Jakie Rabinowitz, jazz singer! Jakie Rabinowitz, jazz singer!”... LEE [_Very quietly, very tactfully_]. We have exactly a half-hour to get to the theatre. SARA [_Her great moment of sacrifice_]. It’s all right, Jakie.... You can go.... [_The telephone rings—she crosses to it._] Hello—what?... Who?... I can’t hear you.... What?... It’s a buzzing in my ears—I can’t— MARY [_Moves over_]. Shall I? SARA [_Giving her the phone_]. Thank you. MARY Hello.... I’ll talk for Mrs. Rabinowitz.... Yes, she’s right here. I’ll take the message.... What is it?... Doctor O’Shaughnessy? Yes.... [_Her back is to the audience but it is evident that what she hears is staggering. She gasps._] Yes—no—I’ll—I’ll tell—him.... Goodbye. [_She hangs up phone._] SARA [_Apathetically_]. It’s from the Cantor? MARY Yes. SARA He’s all right? He needs me? MARY No, he doesn’t need you. He’s—all right. SARA I bet he wants something to eat, don’t he? MARY No—he’s not hungry—at all. SARA Then he’s resting? MARY Yes—he’s resting. SARA Thank you. JACK [_Who has turned when_ MARY _gasped_]. Mama, you’d better get ready. We’ll be late. [_Takes her to door and she goes into the kitchen for the candles. He turns swiftly to_ MARY, _holding the kitchen door closed behind him. His voice is tense._] Is he ... worse? MARY [_Slowly_]. He just ... died. JACK Oh, my God! [_Emotion has returned to him. He sobs._] He told me God would punish me! I thought I could get away from Cantors! Well, God showed me.... [_His voice rises to a wail and then subsides._] The Day of Atonement!—I’ll say it’s the Day of Atonement. [SARA _enters with lighted candles._ JACK _suddenly turns to her._] Mama! I’m going with you! I’m going to the synagogue! SARA [_Unbelieving joy in her voice_]. Jakie! JACK I’m your son. I’m the son of my father. Mama, I’m a Cantor, see?... I’m Cantor Rabinowitz! God’s going to hear me sing Kol Nidre tonight! [_He is strong in the power of his decision._] SARA [_Tears in her eyes_]. Jakie! JACK [_Moves with her to the door_]. You go ahead, Mama. You have to go to the balcony. I’ll look for you there from the altar. SARA [_As she goes_]. Your papa will be so happy! He will be so happy.... [JACK _closes the door. There is a pause._] MARY Jack—isn’t there anything you want me to do? JACK Just root for me ... to get over ... like you did before.... No—I’ll be all right here.... What a little boy learns, he never forgets.... Goodbye, Mary. [_He puts on skull cap and shawl, kisses the mazuzah, and is gone._] [_Faintly, through the closed windows, the murmur of the voices of the Children of Israel in prayer can be heard in the darkening room. The stained glass windows of the synagogue next door are lighting up and throw a many-colored radiance into the room._] LEE There goes your blackface comedian. MARY [_Passionately_]. Do you think that boy will be a Cantor all his life? LEE That boy’s career on the stage is ended. He’ll never come back. MARY He’s _got_ to come back. LEE [_Shrugs his shoulders_]. Well, I’m going. Better hurry, Mary. MARY [_Suddenly stops him_]. Wait— LEE What is that? MARY They are praying.... I want you to listen.... [LEE _comes over by_ MARY. _They stand silhouetted against the evening sky, a profile of radiance shed on them from the glowing window of the synagogue._] You are going to hear a blackface comedian singing to his God.... [_Now the choir can be heard in the noble strains of Kol Nidre._ LEE _and_ MARY _stand motionless._ JACK’s _voice rises, pouring forth in a flood of prayer; it subsides; rises again. Here is something of the same quality that he put, earlier that afternoon, into his cheap Mammy song._] Don’t you see, Harry, it’s in his blood.... He’ll _have_ to come back. LEE [_Slowly_]. I hope so. [_The wailing sing-song of the congregation beats in like the sound of surf; the choir’s rich harmonies rise again to the climax of Kol Nidre;_ JACK’s _voice, clear and passionate, poignantly tops them all as the curtain falls._] CURTAIN Transcriber’s Notes: Text Notes: 1. Italicized text is indicated with leading and trailing underscores. (_) 2. In order to facilitate word wrapping, ellipses in the middle of a sentence have been replaced with a group of three periods. This group has a leading and, unless a comma is present, trailing blank space added. Ellipses at the end of a sentence do not have a leading blank space, but closing punctuation has been added if needed. 3. Some text was silently italicized for consistency with other text. 4. Except as mentioned above and in the Change List that follows, every effort has been made to replicate text as faithfully as possible, including non-standard or inconsistently applied punctuation, inconsistently hyphenated words, and other idiosyncrasies. Change List (page numbers from original printed book): Page 63 The title text “SCENE 1” added. *** END OF THE PROJECT GUTENBERG EBOOK THE JAZZ SINGER *** Updated editions will replace the previous one—the old editions will be renamed. Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works 1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. 1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License. 1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that: • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.” • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works. • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work. • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg™ Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org. Section 3. Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws. The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate. While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate. Section 5. General Information About Project Gutenberg™ electronic works Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support. Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our website which has the main PG search facility: www.gutenberg.org. This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.