Complete Works of F. Scott Fitzgerald UK (Illustrated)

by F. Scott Fitzgerald

ALTHEA (beating her breast): I meant the races in here. (In time to her hands.) Pt-a-clop, pt-a-clop, pt-a-clop , pt-a-clop. Nicolas wins! Althea second — hurray!

  MRS. CHlLTON: This two-year-old ought to be back in her stable.

  ALTHEA: You know I won’t leave you till you’re stronger. Excuse me for being so happy — that he’s well and alive. (She turns to the open window and speaks more gravely.) I’ll be with you in a minute — I want to think of everything he said while I can still remember. (Her eyes art far away as she looks out)

  ENGLISH NURSE: The country around Florence is beautiful this —

  She subsides as Mrs. Chilton’s hand covers her hand warningly. The nurse looks at Althea, only half understanding.

  Close shot of Althea at window: Her expression is a gentle, kindly smile, with a trace of sadness in her eyes — a longing deep in her, passive, not dynamic.

  NURSE’S VOICE (over shot after pause, rather resentfully): The country is beautiful — Lady Whaley once told me — Oh, I beg your pardon.

  Althea turns around.

  ALTHEA: All right — let’s go.

  MRS. CHILTON (to Althea): Hm! I haven’t seen you like this since that awful summer you were fifteen.

  Long shot of a hilltop restaurant just outside of Florence: A simple, picturesque local caf6, popular with visitors. (The hilly nature of the location is necessary to the story)

  In front of the restaurant: The hills fall away rather steeply from a terrace on one side. There is music coming from in-side. A limousine drives up: Althea and the nurse help Mrs. Chilton out.

  Interior of restaurant: Beside the door there is a cashier’s desk with postcards and souvenirs for sale. In one corner, three peasant musicians play guitars throughout the scene. At tables covered with colored napkins, two dozen customers are scattered — tourists having tea or drinks, and natives playing cards or dominoes.

  Our party enters. A waiter approaches them, and the camera trucks with them to a table.

  Group shot of their table: The nurse is taking off Mrs. Chilton’s wrap.

  MRS. CHILTON (to Althea): Did you see who I saw?

  ALTHEA: No, who?

  MRS. CHILTON: I think it’s Alex Aldrich.

  ALTHEA (looking over her mother’s shoulder, then cautiously drawing her head out of sight): Heavens! I think it is.

  A table, twenty feet away: Alex Aldrich, an American in his late twenties, is looking at a map spread out on his table. He is the type played by Ralph Bellamy in The Awful Truth — handsome, attractive, worthy, thoroughly admirable, but somehow too heavy in manner to grip the sympathy of an audience if playing opposite a man of charm.

  Group shot of Althea’s table: A waiter is coming into shot.

  WAITER (to Althea): Tea, Signora?

  MRS. CHILTON: Tea.

  ALTHEA: Tea — with lemon and biscuits. The nurse nods to waiter. He withdraws.

  MRS. CHILTON (to Althea): Does he see us?

  ALTHEA: No, thank heavens. (To nurse:) Change places with me.

  As they change places, the shot widens to include mocha table, five feet away. Three men sit there: one is a pudgy, “overgrown” man of thirty, an unattractive, overbearing type. He is the illbred son of a rich oil man, an undeserving heir who asserts his claims by making himself a general public nuisance — probably wanted in America for manslaughter by automobile.

  He notices Althea as she changes, and winks at the two neutral parasites who accompany him.

  The camera pans the room, leaving Althea’s table and taking in both Big Boy’s table and the three musicians next to it. As the camera pans, Big Boy throws a handful of big Italian copper coins practically in the faces of the musicians. They pretend to smile but obviously are infuriated. Group shot of Althea’s table.

  ALTHEA (to nurse); He wouldn’t come to my wedding.

  NURSE (innocently): Perhaps he didn’t know about it.

  ALTHEA (smiling): Oh, he knew about it — that was the whole trouble,.

  MRS. CHILTON: He meant a great deal to Althea once.

  ALTHEA: And suddenly Nick came along, and he meant nothing.

  The waiter puts tea on the table and exits.

  MRS. CHILTON (with irony): I’m glad Althea includes me in her world. She’s very good to people in her world, but those outside don’t exist.

  ALTHEA (undisturbed): Love begins at home, doesn’t it?

  MRS. CHILTON (not unkindly): Well, it needn’t end there. I think we should speak to Alex.

  ALTHEA: Mother, if Nick were here, I wouldn’t mind a bit — I’d even be mean enough to show off for Alex, show him how happy I am. But after just talking to Nick on the phone — I just couldn’t.

  MRS. CHILTON: Sugar please... Alex meant so much to you.

  ALTHEA: One can’t go back. All I’d have to tell him is that he means nothing at all.

  Big Boy steps suddenly into the scene. The ensuing conversation is all quiet, attracting no attention.

  BIG BOY (ingratiatingly): Hello, Americans. (The three women glance at him, expressionless.) How would you like to be back in old New York, eh? Back in God’s country. (The nurse gestures him away, exactly as if he were a dirty child) Thought you’d like to have a drink to the Fourth of July. It’s two months off.

  ALTHEA: Thanks, we’ll wait. (Turns to her mother)

  Big Boy stands uncertainly — he has had a drink but is not drunk.

  BIG BOY: You understand, and we’re all Americans.

  ALTHEA: We’re waiting for some gentlemen who wouldn’t understand at all.

  NURSE (indignantly to Mrs. Chilton): I should call a bobby — a carbonierri.

  BIG BOY: If one of those boys tried to put his hands on me —

  He leans, putting his hands on the table, one of them beside Althea’s cup. At the moment, she

  has the little pot of boiling water in her hand and now she pours a few drops on his knuckles. Angrily’the music changes quickly to a gay, taunting tune as Big Boy straightens up. He starts to speak, turns and goes off scene.

  NURSE: Very good. Just what Lady X would have done.

  MRS. CHILTON (a law-abiding generation): Althea!

  Waiter comes into the scene.

  ALTHEA (distastefully): Another pot of boiling water.

  Group shot at the desk by the door: Later. Althea, Mrs. Chilton, and the nurse are examining lace and souvenirs. Nurse carries coats.

  Close shot of Alex Aldrich at his table, annotating his map from a book open before him. He closes book and looks up toward the side wall. He starts.

  A mirror on the side wall showing Althea’s profile as she examines some lace.

  Alex’s table: He reacts strongly, looks around to locate her, folds map hastily.

  By the desk: Althea looks out the door to the terrace and, struck by the view drops the lace and walks out on the terrace.

  Alex, standing by his table: He locates Mrs. Chilton and starts across the room toward her.

  Big Boy’s table: Shooting toward the door by which Althea has gone out. Big Boy gets up. Camera follows him across restaurant toward door. He collides with Alex.

  Two-shot of Alex and Big Boy.

  ALEX: Pardon me.

  Big Boy says nothing — goes off scene Camera holds on Alex following him up to Mrs. Chilton.

  Group shot near desk: Alex is greeting Mrs. Chilton.

  ALEX: Well, Mrs. Chilton — !

  MRS. CHILTON: Well, Alex! What a surprise!

  Two-shot of Althea and Big Boy on terrace.

  BIG BOY: I didn’t mind. You can’t be too hot for me.

  ALTHEA (after an annoyed pause): I suppose you’re just irresistible to some girls.

  BIG BOY: You look as if you like all kind of men.

  ALTHEA: No — I only like one kind. And you’re not it.

  BIG BOY: Go on — you like all kinds — with a mouth like that.

  At the desk.

  ALEX (to Mrs. Chilton): I’ve been in Persia and I’m bound for Paris. This is great! I’ll get Al
thea and we’ll all drive back together.

  As he starts out the door -

  The terrace: Close shot of Althea and Alex, standing side by side, looking down with concern at something on the stone flags. Pull camera back to show Big Boy sitting down, nursing a cut in his forehead.

  NOTE: Think avoidance of sock and merely showing result is more startling for a change.

  ALEX: I’m sorry I hurt you.

  BIG BOY: Big hero, eh? Alex picks up his book, puts Althea’s arm through his and they start along the terrace out of shot. Camera stays on Big Boy who gets up, picks up a loose stone from the rock wall and starts after them. Camera pans him up to Althea and Alex. Althea turns, cries aloud and Alex turns, swinging. His fist catches Big Boy and knocks him against the low terrace wall. Big Boy disappears over the wall.

  Slope below wall: Big Boy lands six feet down, rolls over and over.

  Terrace: Alex is pulling Althea away from the wall.

  ALEX (panting): He was a sweet specimen! (He kicks the rock at his feel.) Look at that!

  ALTHEA (evenly): Let’s go.

  Alex shies the slate over the wall and again picks up his book. They start along terrace.

  Cafe: Althea, Mrs. Chilton and the nurse are taking their places in the limousine. Alex stands at the side.

  MRS. CHILTON (indignant): I think we ought to report that man to the police.

  ALTHEA (leaning forward): Alex —

  ALEX (about to get in front): Yes?

  ALTHEA: Suppose he was badly hurt and lay down there all night?

  NURSE: Serve him right.

  ALTHEA: No — I don’t like it. Go tell the waiter he — fell over the wall. (Alex looks at her, unwillingly.)

  ALEX: He had it coming.

  ALTHEA: Please. (Alex leaves the car.)

  MRS. CHILTON (patting Althea’s hand): That’s my girl.

  ALTHEA (surprised): Thanks.

  Steps of the inn: Alex is speaking to a waiter.

  The limousine.

  MRS. CHILTON: You see, Alex came in very handy.

  ALTHEA (smiling): Maybe he planned it.

  Alex comes into the scene and gets into front seat.

  ALEX (to chauffeur): All right.

  Traveling shot: Alex is turned around in his seat.

  ALEX (rather seriously): How long are you planning to stay in Florence?

  ALTHEA (leaning forward): Another week. Then we’re going home.

  ALEX: I was thinking — if that man’s hurt there might be a little mess.

  MRS. CHILTON: For us?

  ALEX: This isn’t like America. They sometimes lock up witnesses for weeks.

  ALTHEA (without smiling): Are you proposing that we flee?

  Alex has taken copy of The New York Herald from his pocket. He turns a page.

  ALEX: The Roma sails tomorrow from Genoa.

  ALTHEA (scoffing): I wouldn’t think of it. Mother isn’t ready to go.

  NURSE: Mrs. Chilton is quite able to travel. She could stand it better than any police proceedings.

  ALEX (still frowning): As you like.

  NURSE: When I was taking care of Lady —

  MRS. CHILTON (interrupting): Gracious! One would think that I attacked the man!

  Long shot. A European train racing through the night.

  The Wagon Restaurant (dining car) on train: Alex and Althea are at dinner.

  Flash of Chianti on table.

  ALTHEA: I don’t mind sailing a week early. (With feeling:) It’ll be grand to get home — but it’s the first time I ever ran away from anything in my life.

  ALEX: Once you ran away from me.

  ALTHEA: I didn’t — we wore out.

  ALEX: Your feeling about me wore out.

  ALTHEA (lowering eyes): Alex, I don’t like the past much. (He reacts and she sees she’s hurt him.) I’m sorry.

  ALEX: I can understand that. But a part of me lives in the past, you see. I have no bitterness — you might have married me. It was luck. It’s an accident who you marry — even whom you fall in love with. An important accident — but an accident — or at least a sort of photographic finish.

  ALTHEA: I don’t think so. I think I’d have found Nick — or I’d have spent the rest of my life vaguely looking for him.

  ALEX: You think so? Think there’s just one man for every woman? (He shakes his head and draws a circle on the tablecloth with his fork handle.) Your heart is like this.

  ALTHEA (pretending alarm): Gracious!

  ALEX: Well, like this. (He connects the circle to a heart and takes out a big handful of coins.) These are the men she’s known. (Dropping coins of different sorts inside the heart:) Here’s the boy in dancing school; here’s the policeman she thought was so beautiful; here’s her first love; here’s her husband, her — (He lets an American fifty-cent piece drop.)

  ALTHEA: I stop there. (She points to the fifty-cent piece.)

  ALEX (smiling and dropping more coins): These are just for illustration. Now a girl never gets rid of any of them. All their voices are always arguing in her mind — a great psychologist said that. But a man can love one woman exclusively. His heart’s like this. (Beside the heart he piles other coins, one on top of another in a stack.) First, here’s his mother. Here’s his nurse. Here’s the pretty little girl across the street. Here’s the one he took to a college dance. Each one tops the other, see — obscures her completely — until he gets the one he loves — (looks at Althea) — or loses her. Then the others after that don’t count. (He lets the last coins scatter loosely about the table.)

  ALTHEA (defiantly touching the fifty-cent piece in the heart): 1 don’t believe it, Alex.

  ALEX: It’s true — there’s a little part of you, no matter how small, how buried, that belongs to me.

  Althea sweeps all the other coins out of the heart with her other hand.

  Wharf in Genoa beside the Conte Biancamano: People embarking.

  Group shot of Althea handing a coin to a newsboy. Alex is standing beside her. Mrs. Chilton and the nurse, in background, are watching porter pile baggage.

  Alex and Althea look eagerly at the paper.

  ALEX (pointing): There it is.

  Insert of Italian paper (in Italian — don’t dissolve to English):

  “AMERICANS IN FRACAS.

  Florence, May 28th, 1931.

  Two Americans engaged in a fracas in a restaurant this afternoon, and one of them, Signor S. Johnson, suffered a broken arm. His opponent in the trouble was not identified...”

  Wharf.

  ALEX: He only broke his arm. Good! We can go on our ways with nothing on our consciences. I was the only real victim.

  The horn of the boat blows loudly and four sad little boys, two with guitars, rush into the scene and surround them.

  AD LIB (in Italian): A parting song — We know American songs — A farewell for good luck — Happy marriage —

  ALEX (to boys): We’re not married.

  BOY (in Italian): A lover then.

  ALEX: No — no.

  BOY (shrugging his shoulders): Male fortuna.

  The hoys play a few chords of Santa Lucia and then suddenly launch into The Music Goes ‘Round and Around.

  ALTHEA (taking Alex’s arm; excitedly): Alex, that’s home — that’s home.

  The First Act may be said to end her

  A nightclub in New York, gay but not fashionable. Perhaps the Pennsy Wama Roof with only a few men in formal clothes.

  Two-shot of Nicolas and Iris dancing. His expression is entertained, if not absorbed — hers is frank adoration.

  The music stops and the camera follows them to a table close at hand beside the floor.

  Two-shot of Nicolas and Iris at table.

  IRIS (continuing a conversation): Oh, I used to cut pictures of you out of the paper Last summer you gave a party for a real queen in your house at Westbury.

  NICOLAS: She was a very silly queen.

  IRIS (nodding approvingly): But it suited you. You always said you’d be rich some
day, and every time you made a step up I was glad. I wondered if you did all the things you wanted to do — have you got a room with stars on the ceiling?