Inventing the Abbotts Page #15

PAMELA:

I can't. I have to go to this

party.

DOUG:

What party?

The traffic light changes and the other pedestrians crossthe street.

PAMELA:

Just a party I got roped intogoing. Maybe some other time,

okay? I mean it, really.

DOUG:

Just call -- I'm at Reed Hall.

(CONTINUED)

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INVENTING THE ABBOTTS - Rev. 3/20/96

CONTINUED:

88.

132

PAMELA:

Okay. Bye.

DOUG:

Bye.

Doug watches her cross the street.

133 INT. REED HALL - DOUG'S DORM ROOM - THAT NIGHT 133

Doug is revising a set design -- deeply concentrating onhis task. He's startled by a KNOCK on the door.

MALE STUDENT (O.S.)

Hey, Holt! You got a visitordownstairs!

134 INT. REED HALL - LOBBY - NIGHT (MINUTES LATER)

Doug comes down the wide stairs with a puzzled look onhis face. He stops at the front desk and the studentclerk points to another part of the lobby. Doug walksacross the cavernous lobby and finds Pamela Abbottslumped in a chair.

DOUG:

Did you miss the bus?

Pam laughs and Doug suddenly realizes:

DOUG:

Damn, you're drunk. Awww, man...

I better get you out of here beforethe Puritans tar-and-feather you.

Can you walk?

Pam awkwardly rises and Doug guides her to the door.

DOUG:

Listen to me -- go out the frontdoor, turn right, go around to theside of the building and wait forme by the fire escape. Okay?

Just wait.

134

135 EXT. REED HALL - FIRE ESCAPE - NIGHT (MINUTES LATER)

Pamela leans against the side of the building as the fireescape ladder descends to the pavement. Doug climbsdown.

135

(CONTINUED)

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DOUG:

Come on -- up we go. Pam?

Pam keels over and vomits.

136 INT. REED HALL - DOUG'S DORM ROOM - NIGHT 136

Pam sits on the bed as Doug pulls her stained turtlenecksweater off over her head (she's wearing a bra).

DOUG:

What were you drinking, Sterno?

PAMELA:

I'm cold...

DOUG:

Hold on, we got to get your pants

too. Can you stand up.

(as she collapses on

the bed))

No, you can't stand up. All

right.

He undoes the waist of her pants and tugs on her pantlegs, but her panties start to slide off along with her

pants.

DOUG:

Nope, nope, let's keep the pantieson, okay? Pam? Can you hold onto your underpants?

(she's out)

I'll hold on to your underpants.

He holds her panties in place while he struggles to gether pants over her hips.

137 INT. REED HALL - RESTROOM - NIGHT 137

Doug rinses out Pam's clothes in a sink.

138 INT. REED HALL - DOUG'S DORM ROOM - NIGHT 138

Pam's wet clothes have been draped over the radiator.

Pam is passed out, tucked in under the covers. Doug sitson the edge of the bed gently cleaning her face with adamp washcloth.

90.

139 INT. DOUG'S DORM ROOM - NEXT MORNING 139

Doug stirs from his sleeping spot on the floor (he sleptwith his clothes on). He notices that Pam's clothes have

been removed from the radiator. He sits up and findsthat the bed is empty. She's gone.

140 EXT. BRYN MAWR - DORMITORY - TWO DAYS LATER 140

Pamela approaches her dorm carrying an armload of books.

She starts up the steps then stops when she sees Doug.

DOUG:

You're welcome.

PAMELA:

I'm sorry, Doug.

Sh*t.

DOUG:

That's it? You're sorry?

PAMELA:

(suddenly alarmed)

Oh Jesus... did we?

DOUG:

Oh-Jesus-did-we what?

PAMELA:

Did we... do it?

DOUG:

What do you think?

PAMELA:

I... don't... remember...

DOUG:

Goddammit. Well, I know you mightfind this hard to believe, but I

don't sleep with drunks.

He walks away. She calls after him.

Doug? Hey!

PAMELA:

141 INT./EXT. DOUG'S DORM ROOM/FIRE ESCAPE - THAT NIGHT 141

Doug lounges on his bed reading a textbook. It is

raining outside. He is startled by a TAPPING on thewindowpane. Pamela is outside on the fire escape. He

ignores her.

(CONTINUED)

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PAMELA:

Doug! Open the window! Come on,

I'm freezing. Doug...!

He gets out of bed, unlatches the window, then returns tothe bed and his book. Pamela opens the window (withdifficulty) and climbs in. She drapes her wet coat overthe radiator and sits in the desk chair.

DOUG:

If you feel like you're gonna pukeuse the wastebasket there.

PAMELA:

I'm sorry. I am so sorry. I was

embarrassed. I didn't know where

I was when I woke up. I felt like

I was dying, so, I just... I wasgoing to call you.

Doug doesn't respond -- he turns the page of his book.

PAMELA:

I don't know... I was blotto. I

mean, I was so happy to see you.

Then I just got sad. I got sad.

And stupid. It happens, you know?

Doug snaps his book shut.

DOUG:

You want to hear something stupid?

PAMELA:

What?

DOUG:

When I was cleaning you up, wipingthe puke off your face, I suddenlyrealized how much I miss you -how

much I love you. How's that

for stupid?

Pam is stung by his flippancy, she begins to cry.

DOUG:

What are you crying for?

PAMELA:

I love you. But it's too late.

DOUG:

Why?

(CONTINUED)

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PAMELA:

Everything's too screwed up.

Doug kneels in front of her and anxiously tries toconsole her.

DOUG:

No, no, it's not too late. It's

perfect timing. We're on our own

now. No Jacey and Eleanor orJacey and Alice. That's what

stinks about being the youngest,

we have to sweep up aftereverybody else. But now it's just

us. It's our turn.

PAMELA:

How can you be in love with me?

DOUG:

How can you be in love with me?

PAMELA:

'Cause I've always have been.

You... block-head.

He kisses her, then he gazes at her and strokes her hair.

DOUG:

Hi.

PAMELA:

Hi.

DOUG:

You want to see something?

PAMELA:

What?

DOUG:

Come on.

142 EXT. THEATER - SIDEWALK (UNIVERSITY OF PENNSYLVANIA, 142

PHILADELPHIA) - NIGHT

Doug and Pam hurry along the rain-swept sidewalk towardsthe theater.

143 INT. THEATER - NIGHT (MOMENTS LATER) 143

The large theater is dark except for a single work lightstanding on the bare stage.

(CONTINUED)

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Doug leads Pam by the hand down the aisle from the lobby.

PAMELA:

What are we doing here?

DOUG:

I want to show you something.

He escorts her up a short flight of steps and positionsher center stage near the footlights.

DOUG:

Just stand right there.

He takes the work light with him as he walks off stage.

Then with a METALLIC CLANK everything goes dark.

PAMELA:

(alarmed)

Doug!

DOUG (O.S.)

It's all right -- don't move!

Stay put.

There's the RUMBLE and SQUEAK of a piece of SCENERY beingrolled onto stage -- then the SWOOSH of a backdrop beinglowered from the fly loft.

DOUG (O.S.)

Almost, almost... hold on.

We hear Doug RUNNING somewhere backstage then a beautifulsunset slowly illuminates the stage -- creating theperfect mood for the modestly scaled stylized set thatDoug has put into place: It is the roof of a weathered

farmhouse with a dormer window and a tall brick chimney.

Doug steps on stage, he's a bit winded from his quick-

change routine.

PAMELA:

Oh, Doug, it's beautiful.

DOUG:

The senior acting class does

scenes from different plays, they

invite everybody, it's a real big

deal. So, there's this

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