THE COMPLETE WORKS OF F. SCOTT FITZGERALD. Фрэнсис Скотт Фицджеральд

      MAURY: It’s attributed, I believe, to General Ludendorff.

      PARAMORE: Surely you’re joking.

      MAURY: Have another drink.

      PARAMORE: I oughtn’t to. (Lowering his voice for MAURY’S ear alone) What if I were to tell you this is the third drink I’ve ever taken in my life?

      (DICK starts the phonograph, which provokes MURIEL to rise and sway from side to side, her elbows against her ribs, her forearms perpendicular to her body and out like fins.)

      MURIEL: Oh, let’s take up the rugs and dance!

      (This suggestion is received by ANTHONY and GLORIA with interior groans and sickly smiles of acquiescence.)

      MURIEL: Come on, you lazybones. Get up and move the furniture back.

      DICK: Wait till I finish my drink.

      MAURY: (Intent on his purpose toward PARAMORE) I’ll tell you what.

       Let’s each fill one glass, drink it off and then we’ll dance.

      (A wave of protest which breaks against the rock of MAURY’S insistence.)

      MURIEL: My head is simply going round now.

      RACHAEL: (In an undertone to ANTHONY) Did Gloria tell you to stay away from me?

      ANTHONY: (Confused) Why, certainly not. Of course not.

      (RACHAEL smiles at him inscrutably. Two years have given her a sort of hard, well-groomed beauty.)

      MAURY: (Holding up his glass) Here’s to the defeat of democracy and the fall of Christianity.

      MURIEL: Now really!

      (She flashes a mock-reproachful glance at MAURY and then drinks.

      They all drink, with varying degrees of difficulty.)

      MURIEL: Clear the floor!

      (It seems inevitable that this process is to be gone through, so ANTHONY and GLORIA join in the great moving of tables, piling of chairs, rolling of carpets, and breaking of lamps. When the furniture has been stacked in ugly masses at the sides, there appears a space about eight feet square.)

      MURIEL: Oh, let’s have music!

      MAURY: Tana will render the love song of an eye, ear, nose, and throat specialist.

      (Amid some confusion due to the fact that TANA has retired for the night, preparations are made for the performance. The pajamaed Japanese, flute in hand, is wrapped in a comforter and placed in a chair atop one of the tables, where he makes a ludicrous and grotesque spectacle. PARAMORE is perceptibly drunk and so enraptured with the notion that he increases the effect by simulating funny-paper staggers and even venturing on an occasional hiccough.)

      PARAMORE: (To GLORIA) Want to dance with me?

      GLORIA: No, sir! Want to do the swan dance. Can you do it?

      PARAMORE: Sure. Do them all.

      GLORIA: All right. You start from that side of the room and I’ll start from this.

      MURIEL: Let’s go!

      (Then Bedlam creeps screaming out of the bottles: TANA plunges into the recondite mazes of the train song, the plaintive “tootle toot-toot” blending its melancholy cadences with the “Poor Butterfly (tink-atink), by the blossoms waiting” of the phonograph. MURIEL is too weak with laughter to do more than cling desperately to BARNES, who, dancing with the ominous rigidity of an army officer, tramps without humor around the small space. ANTHONY is trying to hear RACHAEL’S whisper — without attracting GLORIA’s attention….

      But the grotesque, the unbelievable, the histrionic incident is about to occur, one of those incidents in which life seems set upon the passionate imitation of the lowest forms of literature. PARAMORE has been trying to emulate GLORIA, and as the commotion reaches its height he begins to spin round and round, more and more dizzily — he staggers, recovers, staggers again and then falls in the direction of the hall … almost into the arms of old ADAM PATCH, whose approach has been rendered inaudible by the pandemonium in the room.

      ADAM PATCH is very white. He leans upon a stick. The man with him is EDWARD SHUTTLEWORTH, and it is he who seizes PARAMORE by the shoulder and deflects the course of his fall away from the venerable philanthropist.

      The time required for quiet to descend upon the room like a monstrous pall may be estimated at two minutes, though for a short period after that the phonograph gags and the notes of the Japanese train song dribble from the end of TANA’S flute. Of the nine people only BARNES, PARAMORE, and TANA are unaware of the late-comer’s identity. Of the nine not one is aware that ADAM PATCH has that morning made a contribution of fifty thousand dollars to the cause of national prohibition.

      It is given to PARAMORE to break the gathering silence; the high tide of his life’s depravity is reached in his incredible remark.)

      PARAMORE: (Crawling rapidly toward the kitchen on his hands and knees)

       I’m not a guest here — I work here.

      (Again silence falls — so deep now, so weighted with intolerably contagious apprehension, that RACHAEL gives a nervous little giggle, and DICK finds himself telling over and over a line from Swinburne, grotesquely appropriate to the scene:

      “One gaunt bleak blossom of scentless breath.”

      … Out of the hush the voice of ANTHONY, sober and strained, saying something to ADAM PATCH; then this, too, dies away.)

      SHUTTLEWORTH: (Passionately) Your grandfather thought he would motor over to see your house. I phoned from Rye and left a message.

      (A series of little gasps, emanating, apparently, from nowhere, from no one, fall into the next pause. ANTHONY is the color of chalk. GLORIA’S lips are parted and her level gaze at the old man is tense and frightened. There is not one smile in the room. Not one? Or does CROSS PATCH’S drawn mouth tremble slightly open, to expose the even rows of his thin teeth? He speaks — five mild and simple words.)

      ADAM PATCH: We’ll go back now, Shuttleworth — (And that is all. He turns, and assisted by his cane goes out through the hall, through the front door, and with hellish portentousness his uncertain footsteps crunch on the gravel path under the August moon.)

       RETROSPECT

      In this extremity they were like two goldfish in a bowl from which all the water had been drawn; they could not even swim across to each other.

      Gloria would be twenty-six in May. There was nothing, she had said, that she wanted, except to be young and beautiful for a long time, to be gay and happy, and to have money and love. She wanted what most women want, but she wanted it much more fiercely and passionately. She had been married over two years. At first there had been days of serene understanding, rising to ecstasies of proprietorship and pride. Alternating with these periods had occurred sporadic hates, enduring a short hour, and forgetfulnesses lasting no longer than an afternoon. That had been for half a year.

      Then the serenity, the content, had become less jubilant, had become, gray — very rarely, with the spur of jealousy or forced separation, the ancient ecstasies returned, the apparent communion of soul and soul, the emotional excitement. It was possible for her to hate Anthony for as much as a full day, to be carelessly incensed at him for as long as a week. Recrimination had displaced affection as an indulgence, almost as an entertainment, and there were nights when they would go to sleep trying to remember who was angry and who should be reserved next morning. And as the second year waned there had entered two new elements. Gloria realized that Anthony had become capable of utter indifference toward her, a temporary indifference, more than half lethargic, but one from which she could no longer stir him by a whispered word, or a certain intimate smile. There were days when her caresses affected him as a sort of suffocation. She was conscious of these things; she never entirely admitted them to herself.

      It was only recently that she perceived that in spite of her adoration of him, her jealousy, her servitude, her