Inventing the Abbotts Page #6

INVENTING THE ABBOTTS - Rev. 2/16/96 31.

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The girls giggle, "Hi, Doug!" has become a runningpunchline to them. Doug is so undone by their laughterthat he walks into an open door.

53 EXT. BUS DEPOT (DOWNTOWN HALEY) - DAY (SUMMER, 1958) 53

Jacey collects his suitcase from the bus driver. He's

become very much the Ivy League man. Doug waits for himbeside the Plymouth across the street. As Jacey startsacross the street a CAR full of young women, includingEleanor and Sandy, HONKS, and stops beside him. Jaceyhops into the car and calls out to Doug:

Hey, Doug!

JACEY:

Get my suitcase!

The car pulls away and Doug irritably fetches Jacey'sbag.

54 EXT. HOLT HOME - DRIVEWAY - DAY 54

The hood on the Plymouth is propped open.

Jacey as he replaces the fuel filter.

Doug assists

DOUG:

How do you know when a girl's...

ready?

JACEY:

What do you mean, `ready'?

for what... sex?

Ready

Yeah.

DOUG:

JACEY:

They're all ready for sex.

They are?

DOUG:

JACEY:

They might not be willing butthey're ready. Just have to make

them think you're the only onearound who has what they need.

DOUG:

How do you do that?

(CONTINUED)

32.

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JACEY:

Find out what's making them itchand scratch it. If they'rescared, be dependable. If they'rebored, be exciting. If they're onthe rebound, catch them.

DOUG:

What if you're not very dependableor exciting, you know?

JACEY:

Pretend you are.

DOUG:

You mean, it's all just fake?

JACEY:

The sex is real. They pretendthey don't want it. You pretendthat you care. Everybody getswhat they want.

DOUG:

But what if you really feelsomething for someone? Reallycare for them?

JACEY:

I thought you were talking aboutgetting laid?

DOUG:

I guess. I don't know what I'm

talking about.

No sh*t.

JACEY:

55 EXT. MOVIE THEATER (DOWNTOWN HALEY) - NIGHT 55

The marquee reads: TONY CURTIS -- JANET LEIGH -- "THE

PERFECT FURLOUGH" -- CINEMASCOPE -- AIR-CONDITIONED.

It's Friday night -- a long queue has formed at the boxoffice window, mostly teenagers, but some adults, too.

Jacey cruises past the theater in the Plymouth, lookingfor... Eleanor. She chats with a group of friendsstanding in line. She sees Jacey, skips over, and getsinto the car.

33.

56 EXT. TEXACO GAS STATION (DOWNTOWN HALEY) - NIGHT 56

Lloyd Abbott opens a bottle of Coke that he justpurchased from the vending machine. His (1958) Cadillacis being fueled at the gas pumps. As he returns to his

car he sees Eleanor and Jacey drive by the station in thePlymouth.

57 EXT. RIVER POINT PARK - WOODS (HALEY) - NIGHT 57

Jacey and Eleanor are copulating on a blanket beneath acanopy of tall trees near the river. Jacey is on top,

Eleanor has her legs clenched around his hips.

ELEANOR:

Come on, come on, come on...

Her encouragement inspires their mutual orgasms.

58 EXT. RIVER POINT PARK - ROAD - LATER THAT NIGHT 58

Jacey and Eleanor approach the parked Plymouth. Jaceyhas the blanket rolled up under his arm. Suddenly theyare captured by a pair of headlights. Lloyd Abbottclimbs out of his parked (1958) Cadillac.

Hi, Daddy.

ELEANOR:

LLOYD:

What are you doing out here?

ELEANOR:

F***ing Jacey.

Lloyd absorbs this information without surrendering hiscomposure -- but Jacey cannot conceal his shock.

LLOYD:

Get in the car.

ELEANOR:

(to Jacey)

'Night.

Jacey doesn't respond to the kiss Eleanor gives him, butwhen she places her hand on his crotch, he yanks her handoff. Eleanor walks over and gets into the car. Lloydgazes at Jacey for a beat, then gets in the car anddrives away.

INVENTING THE ABBOTTS - Rev. 2/16/96 34.

59 INT. HOLT HOME - DINING ROOM - NEXT AFTERNOON 59

Doug is at the table doing homework. The DOORBELL RINGS.

Doug starts to get up as Helen comes out of the kitchen.

HELEN:

I'll get it.

60 INT./EXT. HOLT FRONT DOOR/FRONT YARD - CONTINUOUS ACTION - 60DAY

Helen opens the screen door and finds a well-dressedwoman standing in the yard with her face turned away.

HELEN:

Hello?

The woman turns -- it is Joan Abbott. Helen is

momentarily caught off balance by Joan's bristling

presence.

HELEN:

Joan. How are you?

JOAN:

May I have a word with you, Helen?

HELEN:

Of course, come in.

JOAN:

No... no, I don't have time...

thank you.

61 INT. HOLT DINING ROOM AND FRONT DOOR - CONTINUOUS ACTION 61

Doug spies on Joan and Helen and their curious exchangethrough a dining room window. Unable to hear their words

he can only witness how their words are spoken.

62 EXT. HOLT HOME - DOUG'S POV 62

Helen steps off the porch and approaches Joan, who isdoing most of the talking -- but Joan seems to require acertain distance from Helen and works her way to herChrysler Town & Country station wagon parked at the curb.

Joan grows more and more agitated as she talks.

63 INT. HOLT HOME - ENTRYWAY 63

Eager to hear what is being said, Doug dashes through theliving room to the front door.

INVENTING THE ABBOTTS - Rev. 2/16/96 35.

64 EXT. STREET - HOLT HOME - DAY 64

Joan has the driver's door to her station wagon open now.

Helen is on the sidewalk. Her demeanor is measured,

purposefully matter-of-fact.

HELEN:

I don't think that's necessary.

JOAN:

Well, if I were you I would talkto him and tell him...

HELEN:

(cutting her off)

No, I'm sorry, Joan, I will not dothat. If you have something tosay to my son, then you'll have tosay it to him yourself.

JOAN:

I just thought you would like toknow what he's done.

HELEN:

And why on earth should I believeanything you say, Joan?

Joan is unable to find a quick retort, she gets into herstation wagon and drives away.

Helen notices a baseball lying in the gutter, she picksit up and cleans it off with her apron. As she turns to

go back to the house, she finds Doug standing on theporch steps. Without warning, she expertly pitches thebaseball across the yard to Doug -- it makes his handsting when he catches it. Helen walks up to the porch.

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