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