Chapter Text
FADE IN:
1 SERIES OF SHOTS 1
1A EXT. VALLEY OF ASHES - LATE AUTUMN - MORNING 1A
MUSIC CUE: Autumn Leaves - Nat King Cole
The wind whistles. A pigeon rests on a chain link fence. It’s covered in black sludge and missing lots of feathers. This gives it the appearance of a vulture.
CHURCH BELL
The pigeon flies away to reveal a billboard that bears the eyes of T. J. Eckleburg. We see a smoggy industrial landscape. Factories with smoke billowing from the chimneys. Compact red brick buildings. A murky, polluted river cuts through the wasteland. Railway tracks fence in the valley of ashes.
1B EXT. THE WILSON’S GARAGE – MORNING 1B
CHURCH BELL
The garage is part of a two-storey red brick building complex. The bricks are coated with ash and soot, so they almost look charcoal-black. In front of the building is a gravel yard containing a few fuel pumps. The sign over the Wilson’s Garage reads ‘George B. Wilson. Repairs. Cars bought and sold.’ The garage itself sits between two other storefronts. To the left is an all-night restaurant, and to the right is an empty shop with a ‘For Rent’ sign over the boarded-up windows. The second story is all apartments. There are no lights on in the garage or the restaurant next to it. A sign in the window of the restaurant reads ‘Closed’.
1C EXT. GATSBY’S MANSION – MORNING 1C
CHURCH BELL
We see a massive sprawling mansion with regency detailing and a tall turret. It is surrounded by expansive gardens, once carefully maintained, now unkempt and overgrown. The house appears abandoned.
1D INT. GATSBY’S MANSION – BALLROOM – MORNING 1D
CHURCH BELL
The mansion’s enormous ballroom is empty. A small amount of natural light filters in through a set of large windows. The rest of the ballroom is in shadow.
1E EXT. – GATSBY’S MANSION – GARDEN - POOL – MORNING 1E
CHURCH BELL
The pool is filled with clumps of autumn leaves floating across the water’s surface.
1F INT. GATSBY’S MANSION – GARAGE – MORNING 1F
CHURCH BELL
The garage is dimly lit. Only Gatsby’s bright yellow car is visible. It has a splatter of dried blood across the front.
2 EXT. CHURCH GRAVEYARD – MORNING 2
CHURCH BELL
We see the front of a dreary rustic church with a bell tower spiking out of the roof. Sitting on a bench near the edge of the graveyard is NICK CARRAWAY (30), white, small but not skinny, a bit baby faced and has a good-natured air about him. He wears a well-made but not luxurious black suit. Next to him is HENRY GATZ (55), sun-tanned skin and a short, patchy grey beard. He is dressed in a worn, patched brown suit with a black armband around his upper arm. He plays with the flat cap in his hands while they wait in silence. Both look like they have been crying. The blurry outline of the church can be seen in the background.
END MUSIC CUE
Mr Gatz takes a beaten-up copy of Hopalong Cassidy out of his coat pocket. From inside the front cover, he pulls out a folded-up photograph. He starts to speak in a shaking voice.
MR GATZ
Jimmy sent me this picture some time ago. Look here.
He unfolds the photograph and holds it up for Nick to see. Nick politely leans in to take a look. It is a photo of Gatsby’s Mansion. Mr Gatz taps the photo.
MR GATZ
Sent me this not long after he first bought it. We were all mighty proud of him back home. You see, when he first run off, we was all pretty broke up about it. But now I see he had his reasons. Jimmy knew he had a big future waiting for him. And he was awful generous to me once he made his success. Bought me the house I live in now. Jimmy always was a good boy, really. See this.
Mr Gatz opens the book and flips through to the empty pages in the back where someone has written a schedule. He reads it out.
MR GATZ
"Schedule. Rise from bed, 6am. Dumbbell exercise and wall-scaling, 6:15 to 6:30am. Study electricity 7:15 to 8:15am. Work 8:30 to 4:30pm. Baseball and sports, 4:30 to 5:00pm. Practise elocution, poise and how to attain it, 5 to 6pm. General resolves: No more smoking or chewing, bathe every other day, read one improving book or magazine a week, save $3 per week, be better to parents." Now I came across this by accident, sometime after he left. But it just shows you, don’t it. My Jimmy was bound to get ahead. He was always going on about improving his mind or some such resolve he had made. He was a real good boy, my Jimmy. We were so proud.
NICK
Jay was one of the best men I ever had the pleasure to meet, Mr Gatz. You have a lot to be proud of.
MR GATZ
It was nothing to do with me really. I think he did it all in spite of me, if anything. I did my best to offer fatherly wisdom, but I don’t think he ever found it much useful.
There is an uncomfortable moment of silence as Nick searches for something to say.
NICK
My father used to tell me that whenever I feel like criticising someone, I should remember that not everyone had the same advantages that I’d had. I always took that to mean that I shouldn’t judge people too harshly, at least not until I knew their story.
MR GATZ
Sounds like good advice.
NICK
I always thought so, but... these days it seems like there are a lot of people out there that deserved to be judged.
MR GATZ
Yeah, I reckon.
Mr Gatz reluctantly returns the book to his pocket and puts his cap on. Nick stares off screen, lost in thought. Nick sighs.
NICK
Are you ready to go, Mr Gatz.
MR GATZ
I suppose.
They stand up from the bench and walk across the churchyard to a freshly dug grave. A casket waits next to it along with a MINISTER (70), solemn, croaky voice. Mr Gatz and Nick listen to the Minister's sermon. The sermon is just audible in the background while Nick narrates.
MINISTER (O.S)
We are gathered here today to mourn the passing of Mr Jay Gatz. He was a friend to many and always generous with his hospitality.
NICK (V.O)
I first met Jay Gatsby in the summer of 1922. My initial impression of the man was that he represented everything for which I have unaffected scorn.
MINISTER
He was described by his friends as honest, kind and hardworking. His young life was tragically cut short...
NICK (V.O)
But as I came to know him over those long summer days, I was rewarded with a privileged glimpse into the human heart. If personality is an unbroken series of successful gestures, then there was something gorgeous about him, some heightened sensitivity to the promises of life...
CLOSEUP
The sun shines white behind a mass of grey clouds.
SLOW DISSOLVE TO BLACK:
NICK (V.O)
...as if he were related to one of those intricate machines that register earthquakes ten thousand miles away.
BLACK SCREEN
NICK (V.O)
No. Gatsby turned out alright in the end.
OVERHEAD SHOT
CHURCH BELL
Gatsby’s casket is lowered into the grave.
NICK (V.O)
It is what preyed on Gatsby...
SLOW MOTION CLOSEUP
Dirt falls on to the casket lid.
NICK (V.O)
...what foul dust floated in the wake of his dreams that made me rethink my father’s old advice to which I had so rigorously adhered.
3 OPENING TITLES 3
Opening titles play. Music starts as blues-style orchestration and then transitions to upbeat jazz/swing. Titles animated in the style of J C Leyendecker/1920s era magazine covers (as is all animation going forward). The titles depict famous imagery like the green light, the eyes of T.J Eckleburg etc.
4 EXT. THE CARRAWAY HOUSE - MORNING - WINTER - FOUR YEARS BEFORE (1918) 4
Nick’s family estate is a 1700s colonial style house with Victorian flourishes and a plantation-eques feel. The house is surrounded by a large but unkempt garden. The trees are mostly bare. A slight frost is creeping in. Gothic atmosphere.
NICK (V.O)
When I returned from the war, I found myself to be inexorably restless.
5 INT. STUDY – AFTERNOON 5
EXTREME CLOSE-UP
Gentle classical music plays. People are talking loudly in the background. We see Nick’s face. He is pale and gaunt. His hair is cropped close to his head. He is staring forward into the camera and his eyes are unfocused.
ZOOM OUT TO:
WIDE SHOT
Nick sits on a fancy but worn sofa. He is wearing his military uniform and has a cigar in his hand. His posture is parade ground straight and very stiff. To the right of Nick, sits his AUNT AUGUSTA (50), white, plump, drag queen personality, who is talking to the person sitting to Nick's left. Behind Nick is a large oil painting of an old man who looks very similar to him, this being Nick's great-grandfather. In an armchair to the left is Nick’s father, MR CHARLES CARRAWAY (55), stout, gruff, old fashioned. Thin and frail looking. His thin grey hair is pulled back in a comb over. He has a scruffy moustache and sideburns. He is wearing a black Edwardian suit. The whole room bears the hallmarks of decaying opulence. An old world aesthetic that is quickly fading away. People are wearing Edwardian clothing, and there is candlelight, but everything is dirty and on the verge of falling apart. Nick is not talking to anyone and continues staring into the camera.
NICK (V.O)
In the medley of familiar faces, and childhood memories, I felt out of place. The Mid West now seemed like the ragged edge of the universe, and I felt strong desire to be anywhere except home.
SMASH CUT TO:
6 INT. STUDY - MORNING - THREE YEARS LATER (1921) 6
Nick slams his hands down on his father’s desk. His hair has grown back and is set in a slicked back side part. A single lock of hair hangs loose about his face. A thin moustache lines his upper lip. He wears a dishevelled grey late 1900s style suit.
NICK
I want to go East.
Charles Carraway leans back in his chair.
MR CARRAWAY
Why on earth would you want to do that?
Nick stands up straight and collects himself.
NICK
So I can become a bond salesman. It’s the thing to do these days. Many men go east and earn a good living off it. I mean, we could use the money.
Aunt Augusta, previously hidden behind Nick, leans back on the sofa, becoming visible.
AUNT AUGUSTA
How do you mean, boy?
Nick turns around and takes a step back so Aunt Augusta can be fully seen.
AUNT AUGUSTA
The estate's value is in the thousands.
Mr Carraway shuffles in his chair.
MR CARRAWAY
Certainly. But the estate is largely made up of land that refuses to make money, and yet costs much to maintain. Lazy blood sucking wastrel that it is. Even so I’m not convinced that you gallivanting off to New York is a such a good idea.
NICK
Be reasonable.
MR CARRAWAY
Oh Nick, I’m afraid I simply don’t understand why you want to leave. What is there in New York that you don’t have here?
AUNT AUGUSTA
Everything except the cows, and I believe they may have recently acquired a few upstate.
MR CARRAWAY
Yes, thank you, Augusta.
NICK
Come on, Father.
(pause)
Please.
MR CARRAWAY
(Sighs)
I suppose.
NICK
Yes! Thank you, father. I won’t disappoint you.
MR CARRAWAY
Calm down, calm down. Now see here. I’m willing to finance you for your first year while you’re getting established but after that I expect that you pay your own way. I’m afraid we won’t be able to get you the best of accommodation, finances being what they are at the moment, but I’m sure I can locate something modest and comfortable for you.
NICK
That’s quite reasonable. Thank you. I’m sure I’ll be able to manage.
Nick runs out of the room, whooping. Augusta sighs and tuts after him.
TRAIN WHISTLE
7 EXT. COUNTRYSIDE – MORNING – ONE YEAR LATER (1922) 7
A train passes through the spring countryside.
TRAIN WHISTLE
8 2D ANIMATED SERIES OF SHOTS 8
8A EXT. COUNTRYSIDE - MORNING 8A
The countryside becomes a 2D animated painting. The blurred trees and fields give way to quaint towns. The train begins to slow.
8B EXT. INDUSTRIAL ZONE - AFTERNOON 8B
The animation melts into a new scene. Steam clouds rise from chimneys and reveal factories and production lines.
MACHANICAL HUMMING AND WHIRRING
8C EXT. NEW YORK - AFTERNOON 8C
View of New York City from a train bridge. Golden sunlight illuminates the skyscrapers and city streets.
9 EXT. GATSBY’S MANSION – AFTERNOON 9
We transition back to live action. We see a sprawling mansion with regency detailing and a tall tower extending from the right wing. It is surrounded by expansive gardens in full bloom, everything carefully trimmed and pruned. Implied this will be Nick’s ‘modest’ accommodation.
NICK'S DRIVEWAY
The music swells as Nick walks down his driveway towards the house. He puts down his luggage and takes in his new home.
GATSBY'S MANSION
We see Gatsby’s Mansion in all its glory.
PAN/TILT DOWN TO:
NICK'S HOUSE
Music stops. We are now looking at Nick’s actual house. It is an unimpressive, weather-beaten bungalow that looks all the worse compared to the house next door. The entirely wooden structure looks as though a strong sea breeze could blow it over. The house sags a little to the right and the roof needs fixed. The front porch is home to an ancient rocking chair, a small table and a colony of spiders. The grass of the front lawn is overgrown and needs cutting. Nick grimaces. He picks up a suitcase from the pile of luggage next to his car, a 1915 Dodge, and walks up the steps to the front door.
PORCH
The bungalow door opens to reveal MILA (52), a staunch Finnish woman, white, wearing a dirty apron over a brown plaid dress. Matron-eques attitude. She gives Nick a once over, folds her arms and leans against the door frame. Nick shrivels under her gaze.
MILA
Hello, how may I help you?
NICK
Oh, hello there. I-I’m the new boarder. I’m Nick Carraway.
He offers his hand for her to shake.
NICK
You must be the housekeeper, am I right?
MILA
I am.
She ignores his hand and walks back into the house. Nick ponders over his still outstretched hand before awkwardly drawing it back to his side and following Mila.
10 INT. NICK’S HOUSE – HALLWAY – AFTERNOON 10
Mila strides down the hallway with Nick in tow, stopping now and then to show him the various rooms.
MILA
Welcome to West Egg, I suppose. My name is Mila. This here is the bedroom.
NICK’S BEDROOM
Small but clean. Contains an old-fashioned metal bed frame and an old wardrobe. There is a window that looks out over the sea. Otherwise, the room is bare.
KITCHEN
The kitchen is also small. It feels even smaller with the stove, countertops, and cupboards crammed in. A breakfast table is shoved into the corner. A window looks out over the Sound. A back door opens onto the back porch.
MILA
This is the kitchen.
She gestures vaguely around the room while Nick stands behind her and gloomily takes it in.
BATHROOM
MILA
Bathroom...
Nick and Mila stand in the doorway of the bathroom. It is very dingy with old tiles, an aging grey porcelain bath on one side and a sink with a cracked mirror over it on the other.
DINING ROOM
MILA
Dining room...
We see a claustrophobic dining area with an old table and beaten-up chairs.
LIVING ROOM
MILA
...and Living room.
Mila shows Nick the living room. It is furnished with old couches and a coffee table in front of a fireplace. Nick walks into the living room and looks around.
NICK
Well, thank you for the tour. Um, if you don’t mind me asking…
He sets his luggage on the ground and looks out the window at Gatsby’s mansion.
NICK
...who lives in that enormous house next door?
MILA
Some man named Gatsby. I heard he made his money in moonshine. Now he spends it on stupid things like ugly, stylistically confused mansions. I wouldn’t bother with being neighbourly, he’s not the type you’d want to get involved with.
NICK
I’ll keep it in mind. I’m actually in a bit of a hurry and I'd most be most grateful if you could tell me the quickest way to get to East Egg? It’s just that I promised I would visit some friends of mine for dinner, and I don’t want to keep them waiting.
Mila beckons Nick to follow her. She leads him into the KITCHEN and out the back door to the BACK PORCH.
MUSIC SWELLS
Nick and Mila look across the bay at the opposite shore, which is really a matte painting with bits of animation over top. The sand of the beach is impossibly golden and the sun sparkles on the deep blue water. Across the bay, there is a roughly oval shaped outcrop of land. This is East Egg. Grand mansions line the opposite shore with tiny docks just barely visible, extending into the water.
MILA
See that over there.
Mila points out East Egg to Nick.
MILA
That’s East Egg. Best way to get to it...
Mila points to a road that snakes along the coastline.
MILA
...is that road there.
NICK
Well, thank you, that’s mighty helpful. It's been a pleasure meeting you, Mila, but I must be off.
MILA
Yes, yes. Go away. I do not care.
Nick walks back to the house. Mila stays on the porch. She looks out at the bay.
ZOOM IN TO:
11 EXT. BUCHANAN’S MANSION – LAWN - EVENING 11
Across the bay, on the back lawn of a particularly large mansion DAISY BUCHANNAN (28), white, blue eyes, blonde hair cut in a bob, peppy, and JORDAN BAKER (26), tan, apathetic, brown eyes, black hair in a slicked down pixie cut (Josephine Baker style), are playing a game of golf. The Buchanan’s house is a red brick Georgian Colonial mansion. Jordan is wearing knickerbockers and a white button down with a silk scarf around her neck. Daisy is wearing a long white pleated skirt and blouse. Behind them on the patio, Daisy’s daughter, GINNY BUCHANNAN (3), is playing with some toys while the governess, MRS WATSON (35) watches. Daisy carefully lines up her shot and putts the ball toward the hole, but it falls short. She huffs and puts her hands on her hips. Jordan looks on in a bored manner.
DAISY
Rats. Your turn, Jordan.
JORDAN
Righto, Daisy-dear.
Daisy steps back while Jordan lines up her shot. Jordan effortlessly putts the ball straight into the hole. Daisy looks extra salty.
DAISY
The fact that you don’t even seem to enjoy beating me makes defeat all the more infuriating.
JORDAN
Beating you isn’t exactly an accomplishment worth celebrating.
DAISY
Well, I’m sure if I continue to watch and learn from the Golf Goddess herself, eventually I’ll make some improvement. Here, I’ll try one of your famous golfing techniques.
Daisy kicks her golf ball into the hole. She assumes an air of mock innocence.
DAISY
What do you know, I guess it did go in after all.
JORDAN
You think you’re such a hoot, don’t you.
Jordan and Daisy smile at each other.
Nick is escorted onto the patio by the BUCHANAN’S BUTLER. He calls out and waves to Daisy.
NICK
Hiya Daisy! Good afternoon!
Daisy and Jordan turn. Daisy smiles when she sees Nick. Jordan still looks bored.
NICK
Beautiful day, isn’t it?
Daisy assumes a bright and cheery tone as she transitions to the role of hostess. She and Jordan join Nick on the patio.
DAISY
Yes, I’d rather say that it is.
She hugs him.
DAISY
It’s so good to see you. I’m paralysed with happiness.
Daisy turns to Jordan who is grumpily hanging back. Daisy ushers her forward.
DAISY
This is my friend, Jordan Baker. She’s a bigshot lady golfer. You’ve probably read about her in the paper.
NICK
Now that you mention it, I think I do remember seeing such an article. It sure is a pleasure to meet you, Miss Baker.
Nick and Jordan shake hands. Jordan’s handshake is limp, and she makes no attempt at politeness.
DAISY
Oh! And you’ll want to meet your niece. Ginny, come here and say hi to your Uncle Nick. Come on.
Daisy flicks her hand at Ginny. Mrs Watson takes Ginny’s hand and guides her over to where the group is standing. Ginny looks up at Nick. Nick smiles and bends down so they are at eye level.
NICK
Hiya, Ginny. I’m your Uncle Nick. I must say it’s an honour to finally meet you, young lady.
Nick offers Ginny his hand. She giggles. She shakes his hand vigorously, moving it up and down in big motions.
NICK
Woah, you’ve got quite a firm handshake there, Ginny. You could almost shake my arm off. Oh no!
Nick pretends to be yanked to the ground by the strength of Ginny’s handshake.
HORSE GALLOPING SOUNDS
Everyone looks in the direction of the noise.
TOM BUCHANNAN (31), white, tall, muscular, attractive but punchable face, comes into view from around the side of the house, riding a horse. Nick gets up off the ground and subtly wipes his hand, the one that shook Ginny’s, on his jacket. NICK'S POV Tom’s physique is accentuated by the tight sports riding clothes he is wearing. As he steers the horse up to the patio, his muscles bulge and there is sweat across his brow. Tom dismounts. He has a disconcertingly well practised smile. A stable hand runs up and takes the horse. Tom goes to join the group on the patio. The Buchannan’s Butler re-enters with a towel and a glass of water.
TOM
Ah! Nick! Good to see you, old chap. How was the trip east?
NICK
Very pleasant. Summer in New York is something to behold.
TOM
Isn’t it just? The heat can be a touch intense though.
He takes the glass of water from the Bulter and has a sip. He pours the rest of the water over his head. Tom then takes the towel and dabbs his face and neck.
TOM
Dinner will be served shortly. How about we all get seated and have some refreshments while we wait. Mrs Watson, I believe it’s time for Ginny to go to bed.
Tom ruffles Ginny’s hair in a cursory manner and then directs Mrs Watson to take her away.
GINNY AND MRS WASTON EXIT.
Tom grabs Nick’s arm and drags him into the house. Nick is visibly a little irritated with Tom’s manhandling. Daisy and Jordan follow behind.
12 INT. BUCHANAN’S MANSION - DINNING ROOM - EVENING 12
A few bookshelves, mostly filled with fake spines and decorative ornaments, stand either side of the door into the dining room. A long table runs down the centre of the room. The space feels claustrophobic and stuffy. Everyone takes a seat at the table. Tom sits at the head of the table with Daisy on his right and Nick on his left. Jordan is sitting next to Daisy. Nick is describing his trip east as they sit down.
NICK
...lovely view of the countryside from the train. We stopped off in Chicago for a day and near a dozen people asked me to pass on their love to you, Daisy.
DAISY
Do they all miss me in Chicago?
NICK
The whole town is desolate. All the cars have the left rear wheel painted black as a mourning wreath, and there’s a persistent wail all night along the north shore.
Daisy laughs sardonically.
DAISY
How gorgeous. We simply must go back and relieve the poor people of the windy city from their sorrow. Eh, Tom?
TOM
What are you doing now, Nick?
NICK
Oh. I’m a bond man.
TOM
With who?
NICK
The Probity Trust.
TOM
Never heard of them. Nick is annoyed by Tom’s dismissiveness.
NICK You will if you stay in the East. It’s a real promising new firm.
TOM
Oh, we’ll be staying in the East, don’t you worry about that.
Tom gives Daisy a look and she frowns.
A SERVANT (23), black, male, enters with a tray of cocktails and starts to serve them. The Servant puts one down in front of Tom.
TOM
I’d be a God damned fool to live anywhere else.
Tom downs the drink in one go and shoots another challenging glance at Daisy. The Servant puts a drink down in front of Nick who smiles and gives the Servant a nod as a thank you. Nick has a small sip of his drink before putting it firmly down on the table. The Servant puts a glass in front of Daisy and she takes a large gulp. The Servant makes to put a glass in front of Jordan. Jordan puts up a hand to stop them.
JORDAN
No, thank you. I’m absolutely in training.
Jordan sizes up Nick with undisguised disapproval.
JORDAN
You live in the West Egg. I know one or two people from around there.
NICK
Really? I don’t know a single soul...
Jordan cuts him off.
JORDAN
But you must know Gatsby?
DAISY
Gatsby?
Jordan leans across the table and addresses Nick.
JORDAN
Rumour says he killed a man once.
The Servant returns with dinner. A tense silence falls over the table as everyone is served. Daisy picks up her knife and fork. When she raises the fork to her mouth, she notices that one of her knuckles is bruised.
DAISY
Oh my! Look! I hurt it.
Everyone looks and sees her bruised knuckle.
DAISY
You must have done it, Tom. I know you didn’t mean to, but I’m sure you did it. Just what I get for marrying a great, big, hulking...
TOM
I don’t like the word ‘hulking’. Even in jest.
DAISY
Hulking.
Daisy makes a show of returning to her dinner. Everyone eats in silence. The awkwardness is too much for Nick, so he attempts to change the subject.
NICK
So, Tom, is it true that you had your polo ponies brought all the way here from Lake Forest?
Blurry MONTAGE OF DINNER TABLE CHAT. We catch odd bits of conversation and small moments between the characters.
TOM
It most definitely is.
JORDAN
I love what you’ve done with your hair recently.
DAISY
I think it’s fabulous that you have a sport you can invest your time into. It’s important to have some kind of hobby to occupy yourself with.
NICK
You’re just as fit as you were at New Haven.
TOM
I’ll never forget that try I scored against those bastards from... It was glorious...
DAISY
I enjoyed France so very much. We travelled all over from Marseille to Paris. The art, the music, the people...
END OF MONTAGE
NICK
You make me feel uncivilised, Daisy. Can’t you talk about crops or something?
Tom suddenly becomes furious.
TOM
Civilisation is going to pieces! Have you read that book, ‘The Rise of The Coloured Empires’ by that man Goodard.
Nick is confused by Tom’s outburst.
NICK
I can’t say that I have.
Daisy and Jordan roll their eyes and share a commiserating look.
TOM
It’s a fine book that everybody ought to read. The idea is that if we don’t look out, the white race will be, will be utterly submerged by the...
Daisy cuts him off and speaks directly to Nick. Her tone is superficially sad but under her words there is a hint that she is mocking Tom.
DAISY
Tom’s been getting very profound of late. He reads deep books with lots of long words…
Tom now cuts Daisy off and continues his rant. Jordan grits her teeth and starts fidgeting with her knife. As he talks Tom stands up and walks over to a bookshelf. He flicks aside a fake spine looking for a particular book. He picks up a copy of 'THE RISE OF THE COLOURED EMPIRES'. He flicks through it and takes it back to the table. Tom preaches from the book occasionally referring to it for talking points.
TOM
It’s all scientific stuff. This fellow has it all worked out. It’s up to us, the dominant race, to watch out or these other races will seize control of things.
DAISY
(sarcastically)
We’ve got to beat them down.
Tom sits back down at the table with the book.
TOM
We’re Nordics, and we’ve produced all the things that make up our civilisation. Science and art and all that. Do you see?
Tom looks expectantly at Nick as though he believes Nick will back him up. Daisy and Jordan look to Nick as well to see how he will answer. Nick is taken aback. He stutters and tries to think of a way to respond that won’t upset Tom nor make it sound like he fully agrees. The Servant returns and fills up Tom’s glass and then Nick’s.
NICK
Well, Tom, I don’t quite fully agree with the stuff this Goddard man seems to be saying but I can potentially see that maybe...
PHONE RINGS
Everyone at the table goes quiet.
FOOT STEPS APPROACHING
The Buchanan's Butler enters and whispers something in Tom’s ear. Tom gets up and leaves the room without saying anything. Nick is confused but Jordan and Daisy watch him leave in a knowing fashion. Daisy starts talking to fill the silence.
DAISY
Nick, would you like to hear a little secret about the butler’s nose?
Nick laughs, a little confused.
NICK
It’s the sole reason I came over tonight.
As Daisy tells the story, murmurs can be heard from the other room as Tom talks over the phone. Daisy’s voice grows louder as she tries to drown out the noise from the other conversation.
DAISY
He wasn’t always a butler. He used to be a silver polisher with some people in New York. He polished silver morning till night, day after day, until it began to affect his nose. Things went from bad to worse, and he had to give up his position.
Daisy starts glancing at the doorway and rocking back and forth slightly.
DAISY
I love to see you at my table, Nick. You remind me of a... rose. An absolute rose. Will you excuse me for a moment?
Daisy throws her napkin down, jumps up from the table and half-jogs out the door. She’s already gone when Nick replies.
NICK
Of course.
Nick looks at Jordan who meets his gaze with a blank expression. Nick is about to ask a question when Jordan shushes him and walks over the doorway. She stands to the side of the open door and listens to Tom and Daisy’s conversation. Nick also gets up and stands across from her on the opposite side of the doorway. A tense conversation between Tom and Daisy can be heard from down the hallway.
TOM
(Into phone)
...and don’t call me at dinner again. Right. Goodbye, Love.
DAISY
Who is it, Tom?
TOM
It’s nothing important, dear. Pay it no mind.
DAISY
Who's calling you at this hour?
TOM
I said don’t worry about it.
DAISY
But...
TOM
Bother me later, will you? We have guests over. Why don’t you go attend to them, like a good hostess.
NICK
(To Jordan)
Is something wrong?
JORDAN
You mean to say you don’t know? I thought that everybody knew.
NICK
I must not be everybody then, because I certainly don’t know.
JORDAN
Tom’s got some woman in New York. She might have the decency not to telephone at dinner time.
Jordan hurriedly motions to Nick that they should resume their seats. The two sit back down just as Daisy and Tom walk in. Daisy has once again assumed an air of false cheeriness.
DAISY
Sorry about that. It couldn’t be helped!
Daisy and Tom sit back down. Daisy tries to think of something to talk about to distract from the awkwardness. She looks to Jordan for help, who has a careful expression of boredom over her face, and then at Nick, who remains bewildered.
DAISY
I looked outdoors for a moment, and it's very romantic. I saw a bird on the lawn that must be a nightingale come over on the White Star Line, he’s just singing away. It’s very romantic, isn’t it, Tom?
TELEPHONE RINGS AGAIN
Everyone is silent for a moment. The room collectively decides to ignore it.
TOM
Yes. Very romantic.
The Buchanan's Butler enters.
TOM
Didn’t I tell you to not bother me if the phone rang again?
BUTLER
Pardon me, Sir. But the governess says that Ginny is refusing to go to bed without one of her parents reading her a bedtime story.
Tom looks at Daisy, who appears frustrated.
DAISY
Can’t you...
TOM
Jordan, didn’t you say you’d like to see the stables? I’d be happy to show you and Nick around.
(To Nick)
I can show you why those ponies were worth bringing up.
Daisy looks at Nick for help.
NICK
Oh, you know me, Tom. Never was much of a horse person. But I would love to see more of your rather marvellous house.
Tom smiles pridefully at the compliment of his house.
NICK
Why don’t you and Jordan go down to the stables, and Daisy can show me the house once Ginny is down.
TOM
Sounds like an excellent plan. Let’s hop to it.
Jordan pats Daisy on the shoulder as she gets up and then follows Tom out of the room. Once they have left an angry Daisy marches out of the room with Nick quickly shuffling after her.
13 INT. BUCHANNAN’S MANSION – GINNY’S BEDROOM - TWILIGHT 13
Ginny’s bedroom window on the second floor is illuminated with golden light. Ginny can be heard yelling excitedly. Daisy chases her daughter around the room. Daisy is upset and overwhelmed and getting increasingly frustrated.
DAISY
Ginny. Ginny. Ginny, darling. Ginny, please, Ginny. Agh! Ginny!
Daisy grabs Ginny and picks her up. She puts her on the bed and pulls the duvet over her. Nick peers around the door into the room to see what is happening.
DAISY
Go to sleep already!
Ginny starts crying and Daisy yells in frustration. Nick walks up behind Daisy and lightly puts his hands on her shoulders.
NICK
Hey. Hey. Why don’t you step outside for a moment. I’ll take it from here.
DAISY
Okay. Okay.
She marches into the hallway. Nick sits on the bed and tries to comfort Ginny.
HALLWAY
Daisy walks into the hallway, steps to the side of the door and puts her head in her hands. She cries silently. She looks up at the ceiling and blinks so that her make-up won’t smudge. She wrings her hands and takes deep calming breaths.
NICK (O.S)
Hiya, Ginny. It’s okay, it’s okay. Your mom’s had a rough day, is all. Don’t cry, don’t cry. How about Uncle Nick reads you a bedtime story? Would you like that? Okay, let’s see, what do we have here?
GINNY’S BEDROOM
Nick picks a book from the bookcase. The cover reads ‘The Happy Prince and Other Tales By Oscar Wilde.’
NICK
What do you think of this one? I quite liked it when I was younger.
He shows the book to Ginny and she nods her approval.
NICK
Yeah? Right then.
Ginny sniffles. Nick notices so he makes a show of fluffing up her pillow and tucking her in. She smiles. He sits on the bed and starts to read from the book.
NICK
(Reading From Book)
“High above the city, on a tall column, stood the statue of the Happy Prince. He was gilded all over with thin leaves of fine gold, for eyes he had two bright sapphires, and a large red ruby glowed on his swordhilt...”
HALLWAY
Nick's words become muffled. Daisy sighs deeply and leans against the wall.
NIGHT
The sun has fully gone down and it is dark except for the light in Ginny’s window. Ginny is falling asleep in bed while Nick reads to her. Nick looks up from the book now and then to check if Ginny has properly fallen asleep.
NICK
(Reading From Book)
“The poor little Swallow grew colder and colder, but he would not leave the Prince, he loved him too well. He picked up crumbs outside the baker’s door when the baker was not looking and tried to keep himself warm by flapping his wings. But at last he knew that he was going to die. He had just enough strength to fly up to the Prince’s shoulder once more. “Good-bye, dear Prince!” he murmured, “will you let me kiss your hand?”
Ginny is now fully asleep. Nick puts the book down and walks out of the room trying to make as little noise as possible.
HALLWAY
Nick looks around for Daisy. He spots her further down and approaches her. Nick and Daisy lean against the wall together. A silence stretches between. Nick starts to look awkward. He breaks the silence first.
NICK
Children have sticky hands, don’t they?
He wipes his hand on his pant leg in an exaggerated fashion. Daisy nods and smirks.
DAISY
Hmm, yeah.
There is silence again. Nick is about to excuse himself when Daisy speaks.
DAISY
You weren’t at my wedding, were you?
NICK
No. I wasn’t back from the war then.
DAISY
After Tom proposed, he gave me this pearl necklace, valued at three hundred and fifty thousand dollars.
2D ANIMATED SHOT
A string of pearls is held in the air. Then a pair of burly hands wraps the pearls around Daisy's neck.
DAISY (V.O)
We had the most elaborate wedding that Louisville had ever seen. Then we had a three-month long honeymoon all throughout the South Seas. We lounged on all the beaches...
2D ANIMATED SHOT
Daisy and Tom sit in the sand and look out at the ocean. Tom’s hand is around her waist and they lean against each other, comfortable and intimate.
DAISY (V.O)
...and swam in the ocean.
HALLWAY
DAISY
I was mad about him then. Couldn’t bear to be apart from him for more than a minute.
Daisy’s tone turns bitter.
DAISY
We went to Santa Barbara after that. It was lovely there. One night Tom drove off the road and crashed. It made the papers. The girl who was with him made the papers too. She was a chambermaid at the Santa Barbara hotel. I had Ginny sometime later. We decided to get away for a bit and go to France. Then we went to Chicago. Then we had to leave again, wound up in New York.
Daisy walks over to a window at the end of the hallway. She looks over the lawn and out at the bay. An ever-so-faint green light is reflected off the windowpane.
DAISY
When Ginny was born, I remember coming out of the ether and looking for Tom. But of course, he was off God knows where. I asked the nurse whether it was a boy or girl. When she told me it was a girl, I wept, and I said ‘Alright, I’m glad she’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.'
Nick steps forward to comfort her but Daisy suddenly pivots around to face him. A smile is plastered over her face and her cheery attitude has returned. She takes a step forward and her face is illuminated by golden light from a lamp.
DAISY
Tom and Jordan will be back from the stables by now. Let’s go down and find them, shall we?
Daisy takes Nick by the arm and pulls him down the hallway.
14 EXT. BUCHANNAN’S MANSION – DRIVEWAY – NIGHT 14
Nick is shouting goodbyes over his shoulder as he gets into his car. Daisy, Tom and Jordan stand on the front steps, waving goodbye.
NICK
Farewell, Tom. Best of luck for the tournament tomorrow, Miss Baker. Goodbye, Daisy.
Nick is about to drive away when Daisy runs out after him.
DAISY
Wait! Wait! Nick, hold on a moment!
Nick winds his window down and leans out to talk to her.
DAISY
I meant to say it earlier. Tom and I heard you got engaged to a girl out West and we wanted to congratulate you.
Nick looks hesitant. Then he laughs.
NICK
It’s libel. I’m too poor.
Daisy is puzzled.
DAISY
But we heard it from at least three people, surely it must be true!
NICK
Daisy, I assure you, the rumours of my engagement are entirely fabricated. Have a good night!
Daisy doesn’t appear convinced. But she steps back from the car and Nick drives away.
DAISY
Goodnight, Nick.
Nick waves out the window and turns onto the road.
15 INT. NICK’S CAR – NIGHT 15
Nick sighs and mutters to himself.
NICK
Those people.
Nick drives back home to East Egg.
16 INT. NICK’S HOUSE – HALLWAY – NIGHT 16
Nick stands just inside the door and takes off his coat in the dark.
BATHROOM
Nick stands in front of the cracked mirror brushing his teeth.
BEDROOM
Nick collapses into his bed. He tosses and turns for a while before falling still. But not long has passed before he jolts awake, his chest heaving. He gets control over his breathing and lies back down. The open window can be seen behind him. Through his window, a mysterious figure can be seen walking out onto a pier.
MUSIC CUE: Autumn Leaves (Spooky Version)
A small amount of green light reflects over his face. Nick scrunches his eyes and sits up in bed. He gets up and walks over to the window. He sees the figure at the end of the dock and his curiosity is piqued.
17 EXT. NICK’S HOUSE – BACK PORCH – NIGHT 17
Nick opens his back door. The moon is bright, and Nick’s shadow is projected against the wall of the house. A faint green light illuminates Nick’s face. Gatsby walks down his pier, half visible but with his face in shadow. He stops at the end of the pier and leans on the railings, staring across the bay. Nick turns his head from Gatsby to across the bay where he sees a faint green light flashing on the horizon.
FADE TO BLACK