The scene opens up in a field in West Egg, Long Island,
1922. There are two houses seen across the road from the
field. One is smaller, a normal sized house, and the other
is gigantic, being equal to what most mansions are thought
of as. A man, Nick Carraway, is seen walking out of the
smaller of the houses, stretching. He appears to be in his
late twenties, dark brown hair that almost reaches the back
of his neck and his bangs go down just to his eye brows. He
is dressed in a dark blue suit, with a gray tie and black
shoes. He yawns, quietly, looking out toward the river, or
the Long Island Sound. On the other side of the river lies
East Egg, which is a more luxurious part of Long Island
NICK (VO)
Back in 1922, I lived along the
Long Island Sound, on West Egg,
Long Island. I lived in an
inexpensive house which was a
eyesore, honestly. But it was a
small eyesore. I had a view of the
water, part of my neighbor's lawn,
and to be in the proximity of
several millionaires, all for the
small price of 80 dollars a month.
The one mansion beside my house
belonged to Gatsby, or since I
didn't know Gatsby, it belonged to
a wealthy gentleman that went by
that name.
Nick walks back and forth across his porch a few times.
NICK (VO)
I served in the Great War,
fighting in several battles, but
never being in the midst of any
real action. More like small
scuffles than battles. My father
was a great man, always taught me
not to judge people. This virtue
was both good and bad at times. He
never really told me much else on
the manner, but I did what I could
to listen to his word.
INT. BEDROOM - DAY
The scene opens back up in a very large bedroom. In the
room, giant windows are seen, covered by very long white
drapes. There is a very large bed seen, where a man lays.
This man is Jay Gatsby, the titular character of the film.
He opens his eyes, slowly, looking out the window. He sighs,
and goes to his closet, which when he opens it, is revealed
to be very big. He looks through his shirts and pants, and
the scene cuts again.
EXT. RIVER - DAY
Nick is now seen being shipped across the Sound on a small
boat, the boatman rowing and talking to Nick. They come to a
dock with a large green light on it.
NICK
This is the one, thank you.
Nick gives the boatman a few dollars and hops up onto the
dock. He looks at the very large house atop the hill and at
the other end of the path that leads from the dock. He takes
a deep breath and starts to walk up the path, his light
jacket draped over his arm. He sees another man, fairly
large and muscular, riding a horse to a stable. The man on
the horse is Tom Buchanan, the husband of Daisy Buchanan,
Nick's cousin.
NICK (VO)
The Buchanan's were very rich
folk, and some people were very
jealous of them. I didn't
understand why, because I was
perfectly content with what I had.
Nick continues walking up the path until he reaches the
house. He takes another deep breath, as he did when he
stepped onto the dock, and he knocks on the door with the
large door knocker that is hanging off of it, which is a
curved rod that his hanging from what looks like a lion's
head. He knocks a few times, then lets go, awaiting an
answer.
NICK (VO)
I always wondered if the trouble
for some things I went through was
actually worth it. I never really
did enjoy seeing the Buchanans.
Tom was just too supercilious for
my liking.
The door opens, and a maid, very short, is seen on the other
end of the door. She leads Nick down a fairly long hallway,
up to a very large, luxurious dining room. Daisy, Nick's
cousin, is seen sitting at a table, sipping at her tea. An
aura of beauty surrounds her, long blond hair hanging down a
little past her shoulders, a perfect face, only looking to
be in her early or mid-20's. She has on a white dress which
looks like something that would only be worn on special
occasions by someone else. She jumps up out of her seat,
running to Nick and wrapping him tight in a hug.
DAISY
I'm so glad that you were able to
join us for dinner!
Nick wraps his arms around Daisy for a second until she
decides to pull back from him, smiling into his eyes and
eventually letting go.
NICK
I'm happy to be here, Daisy. It's
been a while since we've met.
DAISY
It has! It's been too long,
really. I missed you terribly.
NICK
So you've been doing alright then?
DAISY
Yes, yes. Great, honestly.
There is another woman seen sitting in the room, looking
quite interrupted by Nick's entrance. Daisy looks back and
forth at both of them.
NICK (VO)
I entered the house only to find
out that I'd been slightly set up.
I figured this was another attempt
at Daisy finding me someone to be
with. She always seemed to want to
be the matchmaker. When I saw Miss
Baker, I sighed.
DAISY
Well, I guess I should introduce
you two before dinner. Nick, this
is my good friend, Jordan Baker.
Jordan, this is my cousin, Nick
Carraway.
JORDAN
Hello, Nick.
NICK
(almost awkwardly)
Uh... Hello...
Daisy points toward the table.
DAISY
Don't just stand there, Nick. Take
a seat. Tom should be in in just a
moment, I'm sure he won't mind us
starting without him.
A few seconds later, a young child, about 3 years old,
appears in the door way. She, like Daisy, has long blonde
hair, and a short white dress, which looks more like a
sundress than her mother's dress.
DAISY
(looking at Pammy,
the little girl)
Pammy, say hello to Nick. He's
mommy's cousin.
Pammy waves, then runs at Nick, burying her face in him as
he reaches down to hug her. She hugs him tightly, letting
go, then running away, shyly.
NICK
She's such a cute little girl,
Daisy. She looks just like her
mother.
DAISY
(giggling)
Thank you, Nick.
The three of them begin eating and Tom comes in, dressed in
what looks like his best suit. He sits across the table from
Nick, taking the fourth side of the table.
TOM
So, Nick. How have you been? Been
quite a while since you've come to
visit.
NICK
Well, I am quite busy.
TOM
Ah, yes. That's right. You are a
hard worker.
NICK
(somehwat upset)
Yes, that's right. I don't have
all the money in the world.
Daisy looks back and forth between the two of them.
DAISY
Well that's not what's important,
is it?
TOM
Well that all depends on
philosophies.
Jordan lets out a sigh, clearly uncomfortable at the topic
of money. Suddenly, she looks at Nick, changing the subject
intentionally.
JORDAN
Nick, you said you lived in West
Egg?
NICK
Yes, that's right.
JORDAN
I know somebody there.
NICK
Well I don't really talk to--
JORDAN
Now, you must know Gatsby.
Daisy quickly looks up, taking interest in the conversation.
DAISY
Gatsby? What Gatsby?
NICK
Uh, nothing. I think I know what
you're talking about Jordan, at
least, I believe that's what your
name is.
JORDAN
Yes, that's it.
Daisy sighs, obviously realizing that she's being ignored
intentionally. Jordan notices and changes the subject.
JORDAN
So, I'm very stiff today. I've
been lying on that couch in the
living room for who knows how
long.
TOM
Is something wrong with the couch?
I just bought it!
JORDAN
(chuckling)
Nothing is wrong with your couch,
Thomas.
TOM
(irritated)
My name is just Tom.
Jordan laughs at Tom's irritation.
DAISY
Jordan, it's your own fault that
you're in this mood. I've been
trying to get you to go to New
York all afternoon. You just won't
do it.
Someone comes in holding four cocktails, trying to give one
to Jordan.
JORDAN
None for me, thanks. I'm
absolutely in training.
Tom spits out his drink.
TOM
You don't say... How you ever get
anything done is beyond me.
Jordan glares in Tom's direction as he finishes off his
drink. Daisy looks toward the window, seeing a candle that
was just lit. She charges toward it, blowing it out.
DAISY
Candles? Why candles?
She turns back to the rest of the group, who are staring at
her.
DAISY
In two days it will be the longest
day of the year. Does anyone else
do this? Wait for the longest day
of the year, then miss it? Every
year I wait for the longest day of
the year and miss it.
JORDAN
(yawning)
We ought to plan something for the
day then.
Daisy smiles, as though it is a great idea.
DAISY
That's it! We will plan something!
The look of excitement quickly fades to a look of fear.
DAISY
(looking at
everyone)
But what should we plan?
She looks all over, worrying more and more each second.
DAISY
What on Earth do people plan?
Daisy suddenly puts all her attention to her pinkie finger.
DAISY
(holding it out)
Look! I hurt it.
She looks to Tom.
DAISY
You did it, Tom. I know you didn't
mean to do it, but you did it.
She begins to walk around the room, rambling on.
DAISY
That's what I get for marrying a
brute of a man, a great, big,
hulking physical specimen of a——
TOM
(interrupting her)
Hulking. I hate the word
'hulking'. Even in kidding.
DAISY
But Tom, you are a hulking man.
Nick sighs.
NICK
Talking with you makes me feel so
uncivilized, Daisy.
She looks at him.
NICK
I mean, can't we discuss crops or
something?
TOM
Civilized?
Everyone now looks to Tom, surprised by him speaking in such
a tone.
TOM
Civilization is falling to pieces
lately, really. I've gotten to be
a terrible pessimist about things.
Have you read 'The Rise of the
Colored Empires' by this man
Goddard?
NICK
Why no, I haven't read it.
TOM
Well, it's a fine book, and
everybody ought to read it. The
idea is if we don't look out the
white race will be—will be utterly
submerged. It's all scientific
stuff; it's been proved.
DAISY
(sarcastically)
Yes, Tom is very profound.
She chuckles at her own statement, everyone else completely
silent, and Tom almost ready to say something else.
DAISY
He reads such depressing material
and it all has big words in it.
I've tried to read it, but
couldn't.
She then looks at Tom.
DAISY
Dear, what was that word we were
discussing the other day? I
honestly can't remember.
TOM
Anyway, the point is, this stuff,
it's all scientifically proven.
The man who writes this is very
brilliant.
Jordan leans back in her chair slightly.
JORDAN
You ought to live in California.
TOM
(again irritated)
You see, the point is. We're all
Nordics.
He takes his hands off of the table. Pointing to himself,
then Jordan, then Nick as he speaks.
TOM
I am, and you are, and you are,
and--
He stops himself, hesitating at Daisy for a few short
moments.
TOM
--And you are.
Daisy winks at Nick.
TOM
And he gets to the point that
we've produced all the things that
go to make civilization—oh,
science and art, and all that. Do
you see?
Suddenly, the phone begins ringing from the other room. The
butler heads out to answer it, and Daisy looks at Nick.
DAISY
Do you want to hear a family
secret? It's about the butler's
nose.
She laughs, almost like the laugh of a small child.
DAISY
Do you want to hear about the
butler's nose?
NICK
Yes, that would be why I came over
tonight.
The butler returns, quietly informing Tom that he has a
phone call. Tom gets up, walking out of the room.
DAISY
Well, the butler wasn't always a
butler. He was a silver polisher
for some silver makers in the
city. Great at his job, until the
polish began to affect his nose.
He eventually had to give up his
position!
Nick sighs, looking out the window. Daisy walks into the
room where Tom is on the phone, and Jordan moves her chair,
getting a good hearing on the room.
NICK
The Gatsby that you mentioned
earlier, he is my neighb--
JORDAN
(shushing him)
I want to hear what happens!
NICK
What do you mean?
JORDAN
(shocked)
Haven't you heard?
NICK
No, I'm afraid not.
JORDAN
Well, Tom has a woman in the city.
Nick raises an eyebrow.
JORDAN
That was my reaction, too. You
would think she had the decency to
not call during dinner though.
The two sit in silence for a moment as Daisy and Tom both
charge into the room, Daisy strangely cheery.
DAISY
I looked outdoors for a moment.
It's so romantic outdoors. I
looked out and there was a bird. A
nightingale, I do believe. He was
singing away. Isn't it so
romantic, Tom?
TOM
(smiling fakely)
Very romantic.
Tom then glances over to Nick.
TOM
If it's light enough before you
leave, I want to take you down to
the stables.
The phone is heard again. Daisy gets up from her seat,
shaking her head at Tom, and going outside. Tom goes into
the room for the phone, knowing it's for him, and Nick
follows Daisy outside.
EXT. FRONT PORCH - DAY
Daisy and Nick are seen seated on Daisy's porch. She has her
face in her hands, then looks up at Nick.
DAISY
Nick, we really don't know each
other well, even if we are
cousins.
NICK
Yes, that is very true.
DAISY
You didn't come to my wedding with
Tom.
NICK
I wasn't back from the war.
DAISY
That is true, I guess. It's just
that I've had a terrible time
lately. I'm pretty cynical about
everything.
Daisy goes silent for a moment, and Nick attempts to change
the subject to make her feel somewhat better.
NICK
So I suppose Pammy eats, and
everything.
DAISY
Well...yes. Here, Nick. Let me
tell you what I said when she was
born. Do you want to hear?
NICK
(smiling)
Of course I do.
DAISY
It'll show you how I've gotten to
feel about—things. Well, she was
less than an hour old and Tom was
God knows where. I woke up out of
the ether with an utterly
abandoned feeling, and asked the
nurse right away if it was a boy
or a girl. She told me it was a
girl, and so I turned my head away
and wept. 'all right,' I said,
'I'm glad it's a girl. And I hope
she'll be a fool—that's the best
thing a girl can be in this world,
a beautiful little fool.
She heaves a long hard sigh, and Nick pats her on the back a
few times.
DAISY
You see I think everything's
terrible anyhow. Everybody thinks
so—the most advanced people. And I
KNOW. I've been everywhere and
seen everything and done
everything.
INT. LIVING ROOM - NIGHT
Daisy and Nick are seen walking inside as Jordan finishes
reading something out of the Saturday Evening Post.
JORDAN
To Be Continued, in our next
issue.
She throws the magazine aside, looking around the room.
JORDAN
Ten o'clock. Well, time for this
good girl to go to bed.
Nick nods, smiling.
DAISY
Yes, Nick. She's playing in the
tournament tomorrow. At
Westchester.
NICK
(surprised)
Oh. You're Jordan BAKER. I see now
why I thought I saw your face
somewhere.
JORDAN
(looking at Daisy,
then Nick)
Yes, yes. Daisy, wake me tomorrow,
will you?
DAISY
Of course. If you wake up.
Jordan walks up the stairs and Tom looks between Daisy and
Nick.
TOM
(demandingly)
So, did the two of you have a
heart to hear talk out on the
veranda?
DAISY
(looking at Nick)
Did we, Nick?
NICK
I'm sure I don't remember.
Although I think that we talked
about the Nordic race. Yes, I'm
quite sure we discussed that.
TOM
(brashly)
Well, Nick, don't believe
EVERYTHING you hear.
NICK
Of course not.
Nick yawns.
NICK
Well, I must be heading home
myself.
Daisy runs to Nick, locking him in a hug. She then pulls
back from it quickly.
DAISY
Nick, we heard that you were
getting married!
TOM
Yes, that's right. We did hear
something about that.
NICK
I know what you're talking about.
It's all libel. I'm too poor for
marriage.
DAISY
But we heard it! We heard it from
three different people! That means
it must be true!
NICK
Daisy, I can assure you that I'm
not getting married.
DAISY
(dissappointed)
Oh. Well then, take care.
Nick kisses Daisy on the cheek.
INT. NICK'S PORCH - NIGHT
Nick stands at his front door, then he sees Gatsby standing
out front of his house, a glass in his hand. He is staring
at the other side of the Long Island Sound.
NICK (VO)
I took notice to Gatsby doing this
a long time ago. I don't know what
was so fascinating about it.
Nick looks at Gatsby, then back where he's staring, then
back at Gatsby again. There is a green light on the other
end of the Sound. He does this a few times, and when he
looks back for Gatsby, the scene cuts to show Gatsby's
porch, and Gatsby is no longer there, as though he
disappeared into thin air, leaving Nick alone in the quiet
darkness.
EXT. VALLEY OF ASHES - DAY
The scene opens back up in a large plain. There is a set of
railroad tracks running through the plain, and a few small
houses. Everything resembles ash, the ground, houses, even
the people remind you of ash. A train is seen rolling by on
the tracks, its whistle blowing loud. A giant billboard is
seen way up, a pair of enormous yellow glasses and two eyes,
although nothing else is seen. These are the eyes of Dr.
T.J. Eckleburg. The camera pans in on the train, showing Tom
and Nick sitting there. The train stops, and Tom violently
grabs Nick by his elbow.
TOM
Come on, I want you to meet my
girl.
Tom pulls Nick, almost dragging him off the car.
NICK (VO)
Tom's supercilious assumption this
time was that I had nothing better
to do on a Sunday afternoon.
The two begin walking along the road, Tom leading Nick to
where his mistress lives.
EXT. GARAGE - DAY
Scene cuts to George Wilson's Repair Shop. Tom and Nick are
seen standing in front of it.
TOM
Ah. Here it is.
Tom steps forward, walking inside, and Nick follows him in.
INT. WILSON'S GARAGE - DAY
Nick and Tom walk into the garage, and George Wilson is seen
walking out of his small office wiping his hands on a towel.
TOM
Hello, Wilson old man.
WILSON
Hello, Tom.
TOM
How's business?
WILSON
Suppose I can't complain much.
Wilson's tone sounds very unconvincing.
WILSON
When are you selling me that car
you tell me about?
TOM
Some time next week. I've got my
man working on it now.
WILSON
Works pretty slow, don't he?
TOM
No, he doesn't. And if you feel
that way, maybe I should sell it
to someone else after all.
WILSON
Now Tom, I didn't mean it that
way. I just meant--
Wilson stops talking dead in his tracks, Tom looking
impatiently around the garage. Footsteps are heard coming
from upstairs, walking over to the flight of stairs to the
left of Tom and Nick. The feet are then heard coming down
the stairs. A woman is seen walking down the stairs, her
face having no trace of beauty in it whatsoever. The woman
is Myrtle Wilson, George's wife.
MYRTLE
George, get some chairs won't you?
These gentlemen should be sitting
down.
WILSON
Yes, of course.
George scrambles into the office, and Tom walks over to
Myrtle.
TOM
(quietly)
I want to see you. Meet us at the
station to get on the next train.
Myrtle nods and George comes back. As he walks out of the
office, the two of them separate slightly. George sets out
three chairs.
EXT. STATION - DAY
Tom and Nick are seen waiting for Myrtle to arrive. Nick
looks over at Tom.
NICK
So Mr. Wilson. He has no
suspicions about where Myrtle
goes?
TOM
'Course not. He thinks that Myrtle
visits her sister in the city.
Tom laughs.
TOM
Honestly, I think the man may be
too dumb to realize that he's
alive.
NICK (VO)
To my recollection, the afternoon
went fairly smoothly, with a few
bumps. Although there were only a
couple bad times, they were huge
bumps.
INT. APARTMENT - NIGHT
The scene cuts to the interior of an apartment that hasn't
been seen yet. Nick, Tom, Myrtle, and an elderly couple, the
McKees, are all seen sitting around. Mr. McKee is asleep,
his hands clenched into fists. Mrs. McKee is talking to
Myrtle's sister, Catherine. Myrtle and Tom are arguing in
the kitchen, and Nick is seen leaning back in his seat, a
glass of wine on the table in front of him.
TOM
You have no right to mention
Daisy's name, Myrtle!
MYRTLE
And why is that, Tom? I must ask
this.
TOM
You just don't do it, Myrtle! How
hard is that to understand
exactly?
MYRTLE
Daisy, Daisy, Daisy! I'll say her
name whenever I damn well want--
The sound of Tom's fist hitting Myrtle's face is heard in
the background, and Nick cringes at hearing it. Tom comes
out to the main room a few seconds later, looking directly
at Nick.
TOM
Help me grab some towels to clean
up!
Mr. McKee wakes up suddenly as Myrtle comes out of the
kitchen, holding her nose, and Tom hands her a towel. She
covers the nose with it, trying to stop the blood flow as
Catherine and Mrs. McKee run around attempting to give aid
to Myrtle. Mr. McKee and Nick get up, leaving the apartment
as Tom, Mrs. McKee, and Catherine continue aiding Myrtle.
INT. ELEVATOR - NIGHT
Nick and Mr. McKee are seen going down in the elevator,
right after leaving the apartment.
MR. MCKEE
You really should come to lunch
some day.
NICK
Where?
MR. MCKEE
Anywhere, I suppose.
ELEVATOR BOY
Please keep your hands off the
lever.
MR. MCKEE
Well excuse me, I didn't realize
that I had my hand on the lever.
The scene cuts to black, then suddenly there are several
quick cuts:
- Large men carrying crates of fruit into Gatsby's mansion
- Butlers and maids setting up for a party in Gatsby's
backyard
- A party in Gatsby's yard, at least a hundred people
present
- Large buffet tables full, then cut to being empty
- The same process the next week
This all happens during a short narration.
NICK (VO)
My neighbor, Gatsby, has been well
known for his luxurious parties. I
remember back in that year, at
least every fortnight there would
be a big party. Fruit would be
delivered to his house every
Friday, and the pulpless halves
would be seen at his backdoor for
pickup on Monday. It was a very
repetitive process that at first I
didn't care much for, but I
eventually grew used to.
EXT. GATSBY'S YARD - NIGHT
The scene opens up at a party in Gatsby's yard one night,
and Nick is seen walking from his porch, which can be seen
on the screen, as he walks toward, dressed in very nice
clothes. He sees people still coming, though the party is in
full swing. He walks up to random people, asking Gatsby's
whereabouts, and they all give him the same response,
shaking their had as though they don't even know who Gatsby
is.
NICK (VO)
No matter how hard I looked, I
just couldn't seem to find him. I
wanted to meet him for some
strange reason. I eventually found
my way to the cocktail table,
hoping to get roaring drunk in a
matter of minutes to avoid
embarrassment. The moment I walked
to it, I saw Jordan Baker walking
out of his house. She was walking
in my general direction, so I
looked her way.
Nick gets out of his chair, headed in Jordan's direction.
NICK
Hello!
She looks at him and smiles, seeing him standing there.
JORDAN
I'd thought that you might be
here. I remember you saying that
you lived next door to G--
Suddenly, two girls walk over to Jordan, whispering
something in her ear.
JORDAN
Girls, there was some very stiff
competition in that tournament. I
was guaranteed to have trouble.
The girls walk off, and Jordan looks back at Nick.
JORDAN
Ya know, I've heard some strange
rumors about Gatsby. About why he
might throw these parties and
such.
NICK
And what are these rumors?
JORDAN
There are several, actually. Some
say he killed a man once. Others
say he was a German spy during the
war.
NICK
So, how are you tonight?
JORDAN
I have an idea. Let's look for
Gatsby. Ever met him?
NICK
No. I've seen him out a couple of
times, but haven't had the chance
to talk to him or anything like
that.
They start walking around the backyard, going toward the
bar. They look up and down the bar, seeing quite a few
people, but Gatsby isn't seen there. They then head toward
the house.
JORDAN
He's got to be here somewhere, I
saw him here earlier.
They go inside and walk toward a door that they thought
might seem important. They open the door, walking inside and
finding themselves inside Gatsby's library.
NICK
Wow. This is big.
JORDAN
Everything in this house is big,
Mr. Carraway.
A stout, middle-aged man with giant owl-eyed glasses is seen
walking around, amazed. He sees Jordan and Nick and looks
right at them.
OWL-EYES
So... What do you think?
JORDAN
Uhm... About what?
OWL-EYES
About that. As a matter of fact
you needn't bother to ascertain. I
ascertained. They're real.
NICK
The books?
He nods at Nick.
OWL-EYES
Absolutely real—have pages and
everything. I thought they'd be a
nice durable cardboard. Matter of
fact, they're absolutely real.
Pages and—Here! Lemme show you.
He runs to the bookcase, grabbing one.
JORDAN
Sir, you needn't--
She is cut off by him opening the book and flipping through
the pages to show them.
OWL-EYES
See? It's a bona-fide piece of
printed matter. It fooled me. This
fella's a regular Belasco. It's a
triumph. What thoroughness! What
realism! Knew when to stop,
too—didn't cut the pages. But what
do you want? What do you expect?
He snatches the book out of Nick's hand, replacing it back
where it was on the shelf before he took it down.
OWL-EYES
So who brought you? Or did you
come on your own? Most people were
brought.
Jordan and Nick just stare at him, Jordan faking a smile to
try to calm him down slightly.
OWL-EYES
I was brought by a woman named
Roosevelt. I met her somewhere a
few nights ago. Not sure though.
I've been drunk for about a week
now. Thought sitting in a library
might help me get sober.
NICK
Well, has it?
OWL-EYES
Yes. Well... maybe. Too soon to
tell, really. I've only been in
here for about an hour or so. Did
I tell you about the books?
They're actually re--
JORDAN
Yes, you told us. Have you seen
Gatsby anywhere?
OWL-EYES
(looking around)
No, I haven't.
Nick and Jordan sigh.
EXT. BACKYARD - NIGHT
Nick is seen sitting at Jordan's table, and is now awaiting
her to come back from where she went. There is another man,
appearing to be about Nick's age, sitting across the small
table from him. They're both silent, not really looking at
each other at all. Finally, the man talks.
MAN
(politely)
Your face is similar. Weren't you
in the Third Division during the
war?
NICK
(surprised)
Why, yes, I was was. I was in the
Ninth Machine-Gun Battalion.
MAN
I was in the Seventh Infantry
until June of 1918.
Nick nods.
MAN
I bought I hydroplane a few days
back. Would you like to come try
it out with me in the morning?
NICK
Sure, what time?
MAN
Whatever time suits you best. I'm
really not all that busy.
NICK
Mind if I ask you a question?
MAN
It's fine, of course.
NICK
What's you--
Jordan comes walking toward the table, looking and smiling
at Nick.
JORDAN
Having a gay old time now, are we?
NICK
Well, this is a rather unusual
party. I've been here for about 5
hours and still have yet to meet
the host.
He turns back to the man.
NICK
(pointing to his
house)
You see, I live over there, and
this man Gatsby sent his chauffeur
the other day with an invitation.
MAN
Sir, I'm Gatsby.
NICK
(shocked)
I'm sorry, I didn't even realize.
GATSBY
My apologies. I thought you knew.
Gatsby's butler arrives at the table and Gatsby looks up.
BUTLER
Sir, Chicago is on the wire with
you.
GATSBY
Okay. Thank you.
Gatsby looks back at Nick for a moment.
GATSBY
Mr. Carraway, if you'll excuse me.
Nick nods, looking at Jordan. The song in the background
changes to a better song for dancing, and Jordan and Nick
begin walking around, trying to hold a conversation. People
are seen in open spaces, dancing with each other, and Gatsby
steps out of his house on the huge porch. He sees Jordan,
and Nick looks around, noticing that nobody is running to
dance with Gatsby. Gatsby continues staring in Nick and
Jordan's direction, and his butler comes toward them.
BUTLER
Miss Baker, Mr. Gatsby would like
to speak to you privately.
JORDAN
Me? Really?
The butler nods his head, and Jordan gets up slowly.
JORDAN
Excuse me for just a moment, Nick.
Nick nods without an issue coming across his face. Jordan
walks towards Gatsby and they go inside. The scene cuts
several times, showing Nick getting more and more impatient.
A young undergraduate who escorts Jordan from time to time
is seen coming toward Nick, and Nick goes inside in an
attempt to elude him. Walking around the crowded hall, he
sees Jordan coming out of a room.
JORDAN
Nick! I've just heard the most
amazing thing. How long was I in
there?
NICK
Somewhere around an hour or so.
JORDAN
Oh. Well it was so amazing. But I
promised not to tell anyone, and
here I am, tantalizing you about
it.
She lets out a long yawn, talking as she yawns.
JORDAN
Please come and see me...phone
book...under Mrs. Sigourney
Howard...my aunt...
All the words flow together and Jordan starts heading off,
sounding as though she's still talking.
EXT. ROAD - DAY
It's a month or so later, and Nick and Jordan are seen in a
car. Jordan is at the wheel, and she is going well faster
than everyone else. Nick watches in fright as she speeds
around turns.
NICK
Jordan, you're a rotten drive.
Either you need to be more careful
than this, or you oughtn't drive
at all.
JORDAN
I am careful.
NICK
No you're not.
JORDAN
Maybe not, but other people are!
NICK
What's that got to do with it?
Jordan swerves to avoid another car, narrowly staying on the
road.
JORDAN
That means they'll stay out of my
way.
She looks at him.
JORDAN
It takes two to make an accident,
you know.
NICK
So suppose that you meet someone
just as careless as yourself.
JORDAN
I hope that I never do. I hate
careless people, you know.
EXT. GATSBY'S YARD - DAY
The scene cuts to Gatsby's yard again as period music plays
in the background. Nick looks out his window and sighs. The
scene cuts several times to show parties being set up.
NICK (VO)
I remember back in that age. I
would help Gatsby write timetables
as I got to know him, and now I
still keep them. They're old now,
ripping at the folds. But they
would probably give you a better
idea of these people who knew
nothing whatsoever about the man.
Cut to that night, the party in full swing and people all
over the place. A large orchestra is seen, playing song
after song as the scene continues cutting, the party filling
more and more, then slowing down slightly.
NICK (VO)
There was a man named Klipspringer
who showed up to all of Gatsby's
parties. He eventually became
known as "the boarder" and it's
unclear whether he actually had
another home or not.
EXT. NICK'S PORCH - DAY
Nick is seen sitting on his porch, a glass in his hand. He
is admiring Gatsby's car. It is a cream colored convertible.
Gatsby gets out of it and notices that Nick is looking at
it.
GATSBY
Beautiful, isn't she, old sport?
You want me to hop out so you can
get a better look?
NICK
No, no... it's fine.
GATSBY
Haven't you ever seen her before?
Nick nods, saying that he has, and Gatsby waves for him.
GATSBY
Come. We'll go to the village for
the day. You aren't busy, are you?
EXT. GATSBY'S CAR - DAY
The scene cuts to Gatsby and Nick in Gatsby's car. Gatsby is
driving, and Nick is sitting beside him, his hair blowing in
the wind. Gatsby takes a hand off the wheel, nervously
tapping his right knee with his right hand.
GATSBY
So what do you think of me,
anyway, old sport?
NICK
Erm...
GATSBY
Actually, you know what? I'm going
to tell you something about my
life.
Nick looks at Gatsby. Gatsby looks straight ahead, but can
see Nick's face in his peripheral vision.
GATSBY
Sorry, I just don't want you to
get the wrong idea of me from all
these stories you hear.
Nick raises an eyebrow.
GATSBY
Yes, I've overheard the stories
during my parties. I think it's
absurd that people actually think
these things are true, too. Now, I
am the son of some wealthy people
in the Middle West. All of them
are dead now, and I inherited
everything.
He keeps driving, not even moving his head a little bit
towards Nick's to look at him, staring straight ahead,
driving smoothly, carefully.
GATSBY
I was brought up in America my
entire life, but was educated at
Oxford. My relatives had been
taught there for years, and I
thought I had to keep the
tradition running.
As Gatsby says the last part, he seems to hurry up quickly,
as though it bothers him slightly, or something about it
bothers him.
NICK
Hmm... What part of the Middle
West?
GATSBY
San Francisco.
Gatsby sighs.
GATSBY
After I fell into all my money, I
lived in all the big capitals of
Europe. Paris, Rome, London, you
know, that sort of thing. I hunted
big game, collected jewels...even
painted some things. Mainly stuff
to get my mind off of a sad event
that happened to me a long time
ago.
Gatsby lets out a long harsh sigh.
GATSBY
That was when the war came, old
sport. I knew I had to do
something. So I joined the Army. I
tried as hard as I could to be
killed. Something inside me just
kept me alive though. As though I
was meant to live as the goal of
some larger force.
Gatsby lets out a harsh laugh.
GATSBY
I accepted a commission as first
lieutenant when it began. In the
Argonne Forest I took two
machine-gun detachments so far
forward that there was a half mile
gap on either side of us where the
infantry couldn't advance. We
stayed there two days and two
nights, a hundred and thirty men
with sixteen Lewis guns, and when
the infantry came up at last they
found the insignia of three German
divisions among the piles of dead.
I was promoted to be a major, and
every Allied government gave me a
decoration—even Montenegro, little
Montenegro down on the Adriatic
Sea!
Gatsby pulls something out of his pocket, handing it to
Nick.
GATSBY
That's the one from Montenegro.
Nick holds it, looking at it in slight awe.
GATSBY
Turn it over.
Nick turns it, and text is seen, reading:
"Major Jay Gatsby for Extraordinary Valor"
GATSBY
Here's something else that I
always carry with me, too.
Gatsby pulls a photograph out of his other pocket, switching
his hands on the wheel in the process.
GATSBY
Souvenir of my Oxford days. The
man on my left is now the Earl of
Dorcaster.
Nick looks at the photograph, slightly impressed at what he
sees. Gatsby pockets his souvenirs again, proud of himself,
and he puts both hands back on the steering wheel.
GATSBY
I'm going to make a slight request
of you, old sport.
NICK
And what would that be, my friend?
GATSBY
Well, first you have to know
something about me. So forget all
the stories you hear.
Nick nods, attempting to understand what Gatsby is trying to
tell him.
GATSBY
You see, Nick, I kind of drift
here and there with strangers.
Seems like an attempt to forget
about a bad thing that happened to
me. You'll find out more of it
later this afternoon.
NICK
At lunch?
GATSBY
No. A source has informed me that
you're taking Miss Jordan Baker
out to tea this afternoon.
NICK
That is true. But are you telling
me you're in love with Miss Baker?
GATSBY
No, I'm not. But she has kindly
consented to speak with you about
this matter.
Nick lets out a sigh each time Gatsby refers to the issue as
"this matter". A sputtering sound is heard from behind them,
and eventually, a policeman on a motorcycle is seen beside
them. Gatsby stops and pulls a white card out of his wallet,
waving it. The policeman quickly gets back onto his
motorcycle.
NICK
What did you show him, the picture
of Oxford?
GATSBY
I did the commissioner a favor
once and now he sends me a
Christmas card in the mail every
year.
Several quick cuts are then made:
- Gatsby's car crosses over a bridge, passing several cars
swiftly and carefully.
- Gatsby passes a hearse with a coffin, two carriages, one
with the blinds drawn, presumably the family, and another
for friends.
- Gatsby's car passes a limo with a white chauffeur and
three African-American passengers. The passengers stare at
the car, almost with the stare of a rival.
Nick laughs at the sight of this.
INT. RESTAURANT - DAY
Nick walks into a restaurant, and he looks around, looking
for Gatsby. Gatsby is seen standing at his table, an older
man standing beside him, and Gatsby waves for Nick to come
toward them. Nick then makes his way to their table.
GATSBY
Nick, this is my good friend Mr.
Meyer Wolfsheim.
Wolfsheim reaches out to shake Nick's hand. He then looks
right back at Gatsby and nods. They sit, and Nick eyes
Wolfsheim up slightly as he talks to Gatsby. Wolfsheim is an
older man, fairly short with two growths of nose hair
sticking out of his nostrils. He speaks with a slight
European accent.
WOLFSHEIM
This restaurant is nice here,
Gatsby. But I like across the
street much better.
GATSBY
It's a warm day out. It's too hot
in there. This is a very nice
place. Good food.
WOLFSHEIM
The place may be hot and small,
yes...but it is so full of
memories.
NICK
(lost in the
conversation)
What place is that?
WOLFSHEIM
The old Metropole. Full of faces,
all dead and gone. A night that
I'll never forget in my entire
life is when they shot Rosy
Rosenthal there. Old Rosy owed
some guys money, and they were
outside. He got up, but I pulled
him down, told him not to go out
there. If they wanted it bad
enough, they could come in to get
it.
NICK
So did he go outside then?
WOLFSHEIM
Why of course he did. It was
either do that or listen to me. He
stepped out and about a second
later, they shot him three times
in the belly. He died on the spot.
Gatsby sighs, getting up and walking away, bored from
hearing the story.
WOLFSHEIM
He needs the telephone. He's an
Oggsford man, you know.
NICK
Oh?
WOLFSHEIM
You know? Oggsford College?
NICK
Yes...I've, uh, heard of it
before.
WOLFSHEIM
Well, I would hope! It's one of
the most famous colleges in the
world!
Nick nods as Wolfsheim talks, then Wolfsheim pauses for a
second.
WOLFSHEIM
I notice that you're looking at my
cuff buttons.
Nick looks up, shocked at the idea, then focuses his
attention on them.
WOLFSHEIM
(pointing to his
sleeves)
These, my friend, are the most
fine specimens I could find of
real human molars.
NICK
Well...That...That is...an
interesting idea.
WOLFSHEIM
You know, Gatsby is a great man.
NICK
He is.
WOLFSHEIM
I met him just after the war. I
didn't realize he was as good a
man as he is though, until I had
spoke to him for an hour or so.
Gatsby is seen nearing the table and he sits down. Wolfsheim
finishes the food on his plate then looks at Gatsby, moving
his attention to Nick, then standing up. He looks at both of
them.
WOLFSHEIM
I have enjoyed my lunch, but I
must be going now.
GATSBY
Don't hurry, Meyer.
WOLFSHEIM
You have been very polite, but I
am old, and you are not so much.
You sit here and talk about your
sports and young ladies, and
your...
He waves, as though acting out the last noun that fits the
sentence, then he smiles again.
WOLFSHEIM
As for me? I am older, and will
not impose myself upon you
gentlemen any longer.
Wolfsheim heads out of the restaurant at that. Gatsby then
looks at Nick.
GATSBY
That man is quite the story around
New York.
NICK
What is he, an actor?
GATSBY
No.
NICK
Dentist?
GATSBY
No. Meyer is a gambler. He's the
man who fixed the 1919 World
Series, actually.
NICK
He fixed the World Series? I mean,
I knew it was fixed, but I didn't
think one man could have done
something like that.
Nick sighs.
NICK
How did he manage that?
GATSBY
He saw the opportunity and took
advantage of it, to be honest.
NICK
And why is he not in jail right
now?
GATSBY
They can't catch him. He's a very
smart man.
The waiter comes over to the table, dropping the bill onto
the table with a nod. Nick picks it up as Gatsby reaches for
it as well.
NICK
No, no. I insist.
Nick takes a look at the bill, giving the correct amount of
money as the two of them get up and start walking for the
door. Nick sees Tom sitting at another table and looked at
Gatsby.
NICK
Come with me for a minute. I've
got to say hello to someone.
Tom looks at someone he is talking to, then he looks in
Nick's direction. At the sight of Nick, he hops up onto his
feet, walking toward him and Gatsby.
TOM
Nick, where have you been? Daisy's
been furious because you haven't
called us up.
TOM
Mr. Buchanan, Mr. Gatsby. Mr.
Gatsby, Mr. Buchanan.
Gatsby and Tom shake hands briefly, and Tom turns his
attention back toward Nick.
TOM
How've you been anyhow? What
brought you this far to come to
eat?
NICK
I've been having lunch with Mr.
Gatsby.
Nick turns to Gatsby's direction, but when he looks at the
spot where he was standing, he notices that Gatsby is no
longer there.
EXT. TERRACE - DAY
It is now later that day. Nick and Jordan are both seen
sitting at a table, small cups sitting in front of them.
Jordan is wearing a yellow dress and Nick the same thing he
was wearing earlier, a blue suit. Jordan is leaned back in
her seat, her legs crossed as she sips the tea in her hand.
JORDAN
That day we had dinner at Daisy's
house. That night, she woke me up
at an untimely hour in the morning
to ask me "What Gatsby?" Ugh.
NICK
Yes? And?
JORDAN
She knows the Gatsby that you
know!
NICK
It's just a strange coincidence.
JORDAN
Nick. That's no coincidence. He
bought that house so he would be
right across the bay from Daisy.
NICK
Oh?
JORDAN
Yes. And he wants something of
you. He wants you to invite Daisy
over to your house some afternoon
coming up, then allow him to come
visit.
NICK
He's using a messenger to ask such
a little favor?
JORDAN
Well, he was afraid you might be
offended is all.
NICK
Well, you knew about this before I
did. Why didn't he just have you
arrange the meeting? I mean,
you're also a friend of hers.
JORDAN
Yes, but he wants her to see his
house. You, unlike myself, have
that to his advantage. You live
right next door to the man.
Jordan lets out a weak sigh.
JORDAN
And it would be so nice for Daisy
to have something in her life.
NICK
Well, does she want to see Gatsby?
Jordan quickly looks up from her cup.
JORDAN
She doesn't know. He doesn't want
her to know about it, he just
wants you to invite her over for
tea.
Nick looks up at the clear afternoon sky, then back at
Jordan.
NICK
I suppose that I can arrange
something. It's the least I can do
for my cousin and a friend,
anyway.
Jordan gives Nick a long, warming smile as the scene cuts.
EXT. NICK'S YARD - NIGHT
Nick is seen riding in a taxi toward his house and bright
lights are coming from the area. He looks at the light
intently as his taxi pulls to his house and stops. He gets
out, seeing Gatsby's mansion lit from tower to cellar.
Gatsby comes out of the house, walking toward Nick as Nick
walks toward his door.
GATSBY
Why, hello.
NICK
What's going on? Your house looks
like the World's Fair.
Gatsby chuckles slightly.
GATSBY
Is it really that bright? I was
just looking in some of the rooms
is all.
Nick nods.
GATSBY
Let's go to Coney Island, old
sport. We'll take my car.
NICK
No, it's too late.
GATSBY
Then let's take a plunge in the
old swimming pool. I haven't made
use of it all summer.
NICK
I need to go to bed, though.
GATSBY
All right, then.
Gatsby turns to start walking away, and Nick turns toward
him.
NICK
I talked to Miss Baker today, by
the way. I've decided that I'm
going to call up Daisy tomorrow
and invite her over for tea.
GATSBY
You don't need to worry about
that, old sport. I don't want to
put you to any trouble.
NICK
What day would best suit you?
GATSBY
No. What day would best suit you?
I don't want to put you to any
trouble, like I said.
Gatsby looks around.
GATSBY
I at least want to get your grass
cut, first.
Nick looks down, and the camera shows the two yards side by
side. Gatsby's neat yard ends distinctly, leading into
Nick's more rough looking yard.
NICK
Yes, I can have that arranged, I
suppose.
The two share a mutual nod, and Nick walks into his house as
the scene cuts to black.
EXT. NICK'S YARD - DAY
The new scene opens on Nick's yard, the next morning. His
door opens, and he is seen his hair combed and wet. He
yawns, looking around. It is raining, and he shakes his
head.
NICK
(sarcastically)
What a beautiful day to arrange a
meeting this big.
A man is seen coming over from Gatsby's house, and Nick
notices that it is Gatsby's gardener. He explains to Nick
that he is here to cut his grass, and Nick nods. Gatsby is
then seen a few seconds later, heading toward Nick. He is
wearing a very expensive looking suit and a hat to match it.
He laughs.
GATSBY
Great day, eh, old sport?
Nick laughs back. Gatsby gets up to the porch as the
gardener starts working on Nick's yard. Gatsby sighs.
NICK
Daisy should be here around four.
I told her not to bring Tom.
GATSBY
Tom?
NICK
Her husband.
GATSBY
Ah, yes. Oh, and um, I have a
question. You don't make much
money, do you?
NICK
Not a lot, no.
GATSBY
Thought you didn't. I have a
proposition for you.
Gatsby looks at Nick.
GATSBY
It wouldn't take up much time and
it would make you a nice bit of
money.
NICK
I apologize, but I've got my hands
full.
GATSBY
You would have to do no business
with Wolfsheim at all.
NICK
That's not what it is at all. I
just don't have the time.
GATSBY
Alright. I'll return around four
then?
The two nod, and Gatsby walks off toward his mansion again.
INT. NICK'S HOUSE - DAY
Nick is seen sitting in a chair by his window in what looks
like his living room. There is a mantle near his seat with a
clock sitting atop it. The clock reads about 3:45. Nick
sighs, looking at the clock, then back out the window. Sure
enough, Gatsby is seen coming across the yard toward Nick's
front door. Gatsby is seen wearing a white flannel suit with
a gold tie. He combs his hair back slightly and knocks. Nick
goes to the door, opening it. No sooner than Nick gets the
door open, Gatsby comes charging in.
GATSBY
How is everything? Is everything
all right?
NICK
The grass is fine, if that's what
you mean.
GATSBY
Wait, what? Oh, yes. The grass.
Gatsby looks out the window impatiently. The scene cuts a
few times as Nick shows Gatsby around the house somewhat,
and the clock is shown. It finally reads four o'clock, and
Gatsby sighs.
GATSBY
Perhaps this is pointless and I
should just go.
NICK
Why's that?
GATSBY
Because nobody's coming to tea! I
haven't all day, old sport.
NICK
Don't be silly. It's only two
minutes 'til four.
Gatsby flops back onto his seat miserably, as though being
forced down by Nick. He sighs, and a loud car engine is
heard pulling into Nick's driveway. Nick steps outside, and
Daisy is seen in the back of a car, a lilac colored dress
and hat with a veil to match it. She walks to Nick
enthusiastically.
DAISY
Nick! It's so great to see you
again!
She embraces Nick tightly, her smile ear to ear. She then
pulls back quickly.
DAISY
(nervously)
I'm not too dressed up, am I?
NICK
Daisy, there is nothing to worry
about. You look fine.
Daisy hugs Nick again quickly, then they separate.
DAISY
Why couldn't Tom come along? Is
there something that I should know
about?
NICK
Like what?
DAISY
Well, do you love me, my dearest
one?
NICK
Of course not, Daisy. Now come on
in out of the rain. Tell your
chauffeur to go away and spend an
hour.
DAISY
Ferdie, be back in an hour or so.
Daisy turns back from Ferdie to Nick.
DAISY
(giggling)
His name is Ferdie.
NICK
Does the gasoline in the car
affect his nose somehow?
DAISY
I don't think so...why?
Nick shakes his head, going inside the door. Daisy follows
Nick inside, and he leads her to the living room, which to
Nick's surprise is completely deserted.
NICK
Well that's funny.
DAISY
What's funny?
Someone is heard knocking at the front door, and Nick heads
to the door to answer it. As the door opens, Gatsby is
revealed, his hands deep inside his pockets, as though there
are heavy weights attached to them. He is seen standing in a
puddle, as though he'd been outside in the rain for several
hours. Nick leads both of them into the living room, then
goes out into the hallway. Nick sighs, waiting for about
thirty seconds, but there is no sound to be heard at all.
Then a murmur can be heard, then Daisy laughing.
DAISY
It is certainly nice to see you
again.
Nick sighs, leaving the hall and going into the room. Gatsby
is seen reclining against the mantelpiece, hands still deep
inside his pockets in what can be seen clearly as a feigned
look of perfect ease. He looks up at Nick for a second.
GATSBY
We've met before.
Gatsby starts to lean back even further, knocking the clock
off the mantelpiece, but in one fluid motion, almost diving
down, catching it, and placing it back where it was before
it fell. Nick just stares into the room.
GATSBY
Sorry about the clock, old sport.
NICK
It's an old clock.
Gatsby looks back at Daisy.
DAISY
We haven't met for quite some
time. Many years.
GATSBY
Five years next November,
actually.
The seconds pass again, all three of them staring silently
at each other. Then what seems to be a maid brings it two
trays, full of cups, tea, and cakes. She sits them on the
center table and leaves. The calmness in the room doesn't
last long, and Nick gets to his feet quickly.
GATSBY
Where are you going?
NICK
I'll be back.
GATSBY
I need to talk to you before you
leave.
Nick leaves the room, heading toward the kitchen, and Gatsby
follows close behind him, closing the door as they go in.
GATSBY
This was all a mistake. A
terrible, terrible, horrible,
terrible mistake.
NICK
Of course not! You're just
embarrassed is all. And luckily,
Daisy is embarrassed, also.
A look of shock overcomes Gatsby's face.
GATSBY
She's embarrassed?
NICK
Just as much as you are.
GATSBY
SH! Don't talk so loud.
NICK
Stop acting like a little boy. Not
only are you acting like a boy,
but you're being awfully rude.
Poor Daisy is out there all alone.
Gatsby sighs, then silently, he walks out of the kitchen
toward the living room. Nick then walks out the back way,
out the back door, standing under a massive tree to keep him
dry from the rain. He stares up at Gatsby's mansion. The
scene then cuts back to the living room, where Gatsby and
Daisy are seen sitting silently. Nick walks in from the
hall, and they look up at him.
GATSBY
Well hello, old sport.
Nick gives Gatsby a nod, still staring into the room.
NICK
It's stopped raining.
GATSBY
Has it?
He looks out the window, seeing a few bright gleams of
sunshine.
GATSBY
What do you think of that, Daisy?
It's stopped raining.
DAISY
I'm glad, Jay.
The three sit silently for a few more seconds, and Gatsby
finally gets to his feet.
GATSBY
I was wondering if maybe you and
Daisy would like to come over to
my house. I'd love to show her
around.
NICK
Are you sure you want me to come?
GATSBY
Of course, old sport.
The three of them head for the door, then Daisy stops.
DAISY
Excuse me, I'd like to go wash my
face quickly.
Daisy heads for the bathroom, and Gatsby and Nick stand on
the porch, looking at Gatsby's mansion.
GATSBY
My house looks well, doesn't it
old sport? See how the front of it
catches the light so beautifully?
NICK
It is very splendid, indeed.
GATSBY
Yes. And it only took me three
years to come up with the money to
buy it.
NICK
I thought that you inherited your
money.
GATSBY
Well I did, old sport. But I lost
it all in the big panic--the panic
of the war.
NICK
What business are you in, if I may
ask?
GATSBY
Well, I used to be in the drug
business, then I was in the oil
business. But I'm not in either
one now. Do you mean that you've
been thinking over my proposition
to you?
Before Nick gets the chance to answer, Daisy comes out of
the house between them, and stares in awe at Gatsby's
mansion, pointing at it.
DAISY
That huge place there?
GATSBY
Do you like it?
DAISY
Well of course. I mean, I love it.
But how can you live in a house
that big alone?
GATSBY
Well I'm never alone. I have
people there day and night, all
the time. Interesting people,
celebrated people.
INT. GATSBY'S HOUSE - DAY
Nick, Gatsby, and Daisy are seen heading through Gatsby's
mansion, showing quick cuts of several things. Music rooms,
large bedrooms, living rooms, all sorts of rooms. They pass
what Gatsby mentions as the "Merton College Library" and he
shuts the door to it quickly.
GATSBY
Come in, come in.
Gatsby leads Nick and Daisy into his bedroom and they both
stop near his gigantic bed.
NICK
What are we in here for, exactly?
Gatsby goes to what appears to be his walk-in closet,
pulling out shirt after shirt after shirt, showing them all
to Daisy. She looks at each of them in awe as he pulls out
the next one.
DAISY
This is...awfully different from
the Gatsby that I used to know.
Gatsby smiles as he continues to pull out shirt after shirt
and Daisy keeps looking at them all amazedly.
INT. GATSBY'S LIVING ROOM - DAY
The three are now seen in a living room, and a man is seen
walking by. Gatsby looks at him and calls to him.
GATSBY
Klipspringer! So great to see you
around. I was wondering if you'd
be able to play something for my
friends here.
Klipspringer nods, smiling at the two, and he heads toward
the piano across the room. He starts playing a little, just
getting ready, then music is heard. He begins singing the
lyrics to "Ain't We Got Fun". Daisy smiles and looks at
Gatsby, and the three stand watching, admiring the musical
talents of Klipspringer. Nick quickly realizes that Daisy
and Gatsby have forgot about him, and he sneaks out of the
house.
EXT. GATSBY'S YARD - NIGHT
Another gigantic lavish party is seen occurring at Gatsby's
mansion, and the scene shows all the partying as Nick
narrates again.
NICK (VO)
Gatsby was born James Gatz on a
North Dakota farm, and though he
attended college at St. Olaf's in
Minnesota, he dropped out after
two weeks, loathing the
humiliating janitorial work by
means of which he paid his
tuition. He worked on Lake
Superior the next summer fishing
for salmon and digging for clams.
One day, he saw a yacht owned by
Dan Cody, a wealthy copper mogul,
and rowed out to warn him about an
impending storm. The grateful Cody
took young Gatz, who gave his name
as Jay Gatsby, on board his yacht
as his personal assistant.
Traveling with Cody to the Barbary
Coast and the West Indies, Gatsby
fell in love with wealth and
luxury. Cody was a heavy drinker,
and one of Gatsby's jobs was to
look after him during his drunken
binges. This gave Gatsby a healthy
respect for the dangers of alcohol
and convinced him not to become a
drinker himself. When Cody died,
he left Gatsby $25,000, but Cody's
mistress prevented him from
claiming his inheritance. Gatsby
then dedicated himself to becoming
a wealthy and successful man.
INT. GATSBY'S LIVING ROOM - DAY
It is now the next day, and Nick, Tom, and two other people
are seen sitting in separate seats in Gatsby's living room.
He is rushing around the house, coming back out of the
kitchen a few minutes later with drinks for all of them.
GATSBY
So, you said you were out riding
then?
Tom nods his head "yes" to Gatsby.
TOM
Very good roads out this way.
GATSBY
I suppose the automobiles--
TOM
Yeah.
Gatsby hands Nick his drink, then turns back to Tom, almost
as though driven by some unknown impulse, as though a
stranger would introduce himself.
GATSBY
I believe we've met somewhere
before.
TOM
Yes, I remember that. About two
weeks ago. You were with Nick
there. At the restaurant.
GATSBY
Yes.
Gatsby takes a sip out of his own drink, still looking Tom
right in the eyes.
GATSBY
(almost
agressively)
I know your wife.
TOM
That so?
Tom turns his head to look at Nick, who is trying to stay
out of the conversation.
TOM
You live near here, Nick?
NICK
Yes. Next door actually.
TOM
That so?
Tom looks back at Gatsby, then chuckles, drinking more of
his drink. Mr. Sloane, the gentlemen who was with Tom, gets
to his feet.
MR. SLOANE
Well, look at the time. I'm afraid
we must be going now.
GATSBY
By all means, don't be in a hurry.
It would be great to have you for
supper.
MRS. SLOANE
(excitedly)
How about you two come to supper
with us?
Mr. Sloane quickly grabs his wife by the arm, trying to pull
her out of the house as quickly as possible. Gatsby gives
Nick a questioning look.
NICK
I'm sorry, but I'm afraid that I
won't be able to come.
Gatsby nods and Mrs. Sloane looks at him.
MRS. SLOANE
Well, you come at least. Big
house. There'll definitely be more
than enough room.
Mr. Sloane whispers something in her ear, and she pulls back
a bit, looking almost appalled by what he told her.
MRS. SLOANE
Well we won't be late if we start
now.
GATSBY
So you came here on horseback? I
haven't got a horse.
They all look at him.
GATSBY
I rode in the army, but I haven't
bought a horse. I'll have to
follow you in my car.
MRS. SLOANE
That will be fine.
They all walk out on the porch, Mr. and Mrs. Sloane looking
to be having a heated conversation. Tom walks toward Mr.
Sloane who walks away from the bickering of his wife and
they begin talking.
TOM
By God. The man is actually
coming. She doesn't really want
him to come, does she?
MR. SLOANE
She says she wants him to come
with us.
TOM
Poor man. He'll be attending a
dinner party and he doesn't even
know a soul there.
Tom sighs, looking at Gatsby, who is out of earshot, and is
talking to Nick anyway. Tom then turns his attention back to
Mr. Sloane.
TOM
I wonder where he met Daisy
though. Call me old-fashioned, but
I think women go out too much
nowadays. They meet all sorts of
crazy fish out in the world.
Gatsby goes back inside for a minute, and Tom, Mr. Sloane,
and Mrs. Sloane all mount there horses. Mr. Sloane looks at
Nick.
MR. SLOANE
Tell the man we were in a big
hurry and just couldn't wait
around, would you?
They turn around and ride off, disappearing into the horizon
just a few seconds before Gatsby arrives with a light jacket
and hat in his hands.
