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

have been telling him for ten days that he “looks like the wrath of God,” and he does. As a matter of fact he has not been able to eat a mouthful in the last thirty-six hours.)

      AMORY: Good evening, Mrs. Connage.

      MRS. CONNAGE: (Not unkindly) Good evening, Amory.

      (AMORY and ROSALIND exchange glances — and ALEC comes in. ALEC’S attitude throughout has been neutral. He believes in his heart that the marriage would make AMORY mediocre and ROSALIND miserable, but he feels a great sympathy for both of them.)

      ALEC: Hi, Amory!

      AMORY: Hi, Alec! Tom said he’d meet you at the theatre.

      ALEC: Yeah, just saw him. How’s the advertising to-day? Write some brilliant copy?

      AMORY: Oh, it’s about the same. I got a raise — (Every one looks at him rather eagerly) — of two dollars a week. (General collapse.)

      MRS. CONNAGE: Come, Alec, I hear the car.

      (A good night, rather chilly in sections. After MRS. CONNAGE and ALEC go out there is a pause. ROSALIND still stares moodily at the fireplace. AMORY goes to her and puts his arm around her.)

      AMORY: Darling girl.

      (They kiss. Another pause and then she seizes his hand, covers it with kisses and holds it to her breast.)

      ROSALIND: (Sadly) I love your hands, more than anything. I see them often when you’re away from me — so tired; I know every line of them. Dear hands!

      (Their eyes meet for a second and then she begins to cry — a tearless sobbing.)

      AMORY: Rosalind!

      ROSALIND: Oh, we’re so darned pitiful!

      AMORY: Rosalind!

      ROSALIND: Oh, I want to die!

      AMORY: Rosalind, another night of this and I’ll go to pieces. You’ve been this way four days now. You’ve got to be more encouraging or I can’t work or eat or sleep. (He looks around helplessly as if searching for new words to clothe an old, shopworn phrase.) We’ll have to make a start. I like having to make a start together. (His forced hopefulness fades as he sees her unresponsive.) What’s the matter? (He gets up suddenly and starts to pace the floor.) It’s Dawson Ryder, that’s what it is. He’s been working on your nerves. You’ve been with him every afternoon for a week. People come and tell me they’ve seen you together, and I have to smile and nod and pretend it hasn’t the slightest significance for me. And you won’t tell me anything as it develops.

      ROSALIND: Amory, if you don’t sit down I’ll scream.

      AMORY: (Sitting down suddenly beside her) Oh, Lord.

      ROSALIND: (Taking his hand gently) You know I love you, don’t you?

      AMORY: Yes.

      ROSALIND: You know I’ll always love you —

      AMORY: Don’t talk that way; you frighten me. It sounds as if we weren’t going to have each other. (She cries a little and rising from the couch goes to the armchair.) I’ve felt all afternoon that things were worse. I nearly went wild down at the office — couldn’t write a line. Tell me everything.

      ROSALIND: There’s nothing to tell, I say. I’m just nervous.

      AMORY: Rosalind, you’re playing with the idea of marrying Dawson Ryder.

      ROSALIND: (After a pause) He’s been asking me to all day.

      AMORY: Well, he’s got his nerve!

      ROSALIND: (After another pause) I like him.

      AMORY: Don’t say that. It hurts me.

      ROSALIND: Don’t be a silly idiot. You know you’re the only man I’ve ever loved, ever will love.

      AMORY: (Quickly) Rosalind, let’s get married — next week.

      ROSALIND: We can’t.

      AMORY: Why not?

      ROSALIND: Oh, we can’t. I’d be your squaw — in some horrible place.

      AMORY: We’ll have two hundred and seventy-five dollars a month all told.

      ROSALIND: Darling, I don’t even do my own hair, usually.

      AMORY: I’ll do it for you.

      ROSALIND: (Between a laugh and a sob) Thanks.

      AMORY: Rosalind, you can’t be thinking of marrying some one else. Tell me! You leave me in the dark. I can help you fight it out if you’ll only tell me.

      ROSALIND: It’s just — us. We’re pitiful, that’s all. The very qualities I love you for are the ones that will always make you a failure.

      AMORY: (Grimly) Go on.

      ROSALIND: Oh — it is Dawson Ryder. He’s so reliable, I almost feel that he’d be a — a background.

      AMORY: You don’t love him.

      ROSALIND: I know, but I respect him, and he’s a good man and a strong one.

      AMORY: (Grudgingly) Yes — he’s that.

      ROSALIND: Well — here’s one little thing. There was a little poor boy we met in Rye Tuesday afternoon — and, oh, Dawson took him on his lap and talked to him and promised him an Indian suit — and next day he remembered and bought it — and, oh, it was so sweet and I couldn’t help thinking he’d be so nice to — to our children — take care of them — and I wouldn’t have to worry.

      AMORY: (In despair) Rosalind! Rosalind!

      ROSALIND: (With a faint roguishness) Don’t look so consciously suffering.

      AMORY: What power we have of hurting each other!

      ROSALIND: (Commencing to sob again) It’s been so perfect — you and I. So like a dream that I’d longed for and never thought I’d find. The first real unselfishness I’ve ever felt in my life. And I can’t see it fade out in a colorless atmosphere!

      AMORY: It won’t — it won’t!

      ROSALIND: I’d rather keep it as a beautiful memory — tucked away in my heart.

      AMORY: Yes, women can do that — but not men. I’d remember always, not the beauty of it while it lasted, but just the bitterness, the long bitterness.

      ROSALIND: Don’t!

      AMORY: All the years never to see you, never to kiss you, just a gate shut and barred — you don’t dare be my wife.

      ROSALIND: No — no — I’m taking the hardest course, the strongest course. Marrying you would be a failure and I never fail — if you don’t stop walking up and down I’ll scream!

      (Again he sinks despairingly onto the lounge.)

      AMORY: Come over here and kiss me.

      ROSALIND: No.

      AMORY: Don’t you want to kiss me?

      ROSALIND: Tonight I want you to love me calmly and coolly.

      AMORY: The beginning of the end.

      ROSALIND: (With a burst of insight) Amory, you’re young. I’m young. People excuse us now for our poses and vanities, for treating people like Sancho and yet getting away with it. They excuse us now. But you’ve got a lot of knocks coming to you —

      AMORY: And you’re afraid to take them with me.

      ROSALIND: No, not that. There was a poem I read somewhere — you’ll say Ella Wheeler Wilcox and laugh — but listen:

      “For this is wisdom — to love and live,

      To take what fate or the gods may give,

      To ask no