The Jazz Singer by Samson Raphaelson - HTML preview

 

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