Inventing the Abbotts Page #7

HELEN:

I'm going to ask you one question,

Doug, and if you have no idea, ordon't want to answer, just tell

me.

DOUG:

Okay.

HELEN:

Is there any sense, you think, inwhich Jacey has... oh, I don'tknow, it sounds ridiculous...

corrupted Eleanor Abbott? Led her

astray?

Doug's mind works in several directions at once as hetries to figure out how much he should or could tell her.

(CONTINUED)

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DOUG:

Well... jeez... I know that

he's... that he's slept with her.

But not because he's talked about

it. I mean... Eleanor has lots of

boyfriends. I think Jacey likes

her more than she likes him.

HELEN:

(long beat)

I see.

(another beat)

Go finish your homework.

Doug lobs the baseball back to her and goes inside.

Helen sits on the porch steps and now the true toll thatJoan's visit has taken on Helen becomes apparent -- abone-weary sadness falls over her. Her "tranquility" isnot borne of happiness, it is only a means of coping withthe sadness that is at the core of her being.

65 EXT. COUNTRYSIDE - ROAD - DAY (ONE WEEK LATER) 65

A drab, four-door Chevrolet sedan with Wisconsin license

plates speeds away from town.

Incongruously, the unassuming vehicle is chauffeured byan African-American DRIVER. There are two passengers inthe back seat: a conservatively-dressed, middle-agedWOMAN and Eleanor Abbott. There is nothing telling aboutEleanor's countenance, neither happiness nor sadness canbe found on her face.

66 EXT. ABBOTT HOME - STREET - DAY (WEEKS LATER) 66

Doug walks home from summer school. He pauses to watchthe workmen erecting the party tent in the Abbott's frontyard.

PAMELA (O.S.)

How come you're going to summer

school?

Doug turns to find Pam at the driveway gate.

DOUG:

I got an incomplete in U.S.

History.

PAMELA:

How did you manage to do that?

(CONTINUED)

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DOUG:

Mrs. Bates caught me drawing boobson a picture of Mamie Eisenhower.

PAMELA:

(laughs)

Why do you do things like that?

DOUG:

I wish I knew. I just can't seemto help it sometimes.

PAMELA:

Are you coming to the party?

Doug shakes his head no.

PAMELA:

It's my birthday, you know?

DOUG:

Happy birthday.

PAMELA:

Everybody's going to be here.

I don't know.

DOUG:

Maybe.

PAMELA:

Just come, okay? Please.

67 EXT. TEXACO STATION (DOWNTOWN HALEY) - THAT NIGHT 67

Doug pulls the Plymouth up to the pumps. He's neatlydressed in a jacket and tie. Jacey comes out of theoffice and leans in the car window.

Fill 'er up.

DOUG:

JACEY:

(frowns)

Nice tie.

DOUG:

Oh -- mind if I borrow it?

Jacey puts the nozzle in the car as Doug climbs out.

JACEY:

I thought you didn't like thoseparties at the Abbott's?

(CONTINUED)

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DOUG:

I don't.

JACEY:

Then why are you going?

DOUG:

Just doing someone a favor. How

come you're not going?

JACEY:

I'm persona non grata.

DOUG:

What's that mean?

JACEY:

You know what it means.

DOUG:

What happened with you and

Eleanor?

JACEY:

Nothing. I just outlived myusefulness, that's all.

DOUG:

How were you `useful' to her?

JACEY:

Christ, use your imagination.

Doug has no reply to that.

JACEY:

Eleanor was just looking for a way

out. A way out of the wholeAbbott world. And it turns out

that it takes a lot to get away.

It's not enough that you sleeparound with boys from your world,

you have to f*** boys from thewrong side of the tracks.

DOUG:

What do you mean? Like guys fromFountain Park?

JACEY:

No, I mean me. She was f***ing

me.

(CONTINUED)

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DOUG:

We're not from the wrong side ofthe tracks.

Jacey hangs up the nozzle and screws the gas cap back on.

JACEY:

I wouldn't go to that party if I

were you.

DOUG:

Well, you're not me. We're justas good as the Abbotts.

Doug hands Jacey a few dollars. Jacey heads for theoffice.

JACEY:

You still don't know, do you?

DOUG:

Know what?

68 INT. TEXACO STATION (DOWNTOWN HALEY) - OFFICE -68

CONTINUOUS ACTION

Doug follows Jacey inside as he rings up the sale.

DOUG:

Know what?

JACEY:

After Dad died... Mom... had an

affair with Lloyd Abbott. That's

how he got Dad's patent away fromher.

DOUG:

I don't believe you.

JACEY:

Believe it or not. I don't care.

DOUG:

You're full of sh*t.

JACEY:

Then why don't you go ask Mom?

Ask her what happened -- ask herwhy she doesn't have any friends-- ask her why she's never invitedto the Abbott's -- ask her which

side of the tracks we live on?

Jacey shoves the cash register drawer shut.

INVENTING THE ABBOTTS - Rev. 2/16/96 40.

69 INT. ABBOTT HOME - TENT - NIGHT 69

The party is well underway, it's a younger crowd tonight.

The band plays "Fly Me To The Moon." Doug stands apartfrom the others. He's ill-at-ease. His conversation

with Jacey resonates within him. As he looks over the

gathering, he's pained to discover how easy it is to seethings the way Jacey does: Lloyd holding court with agroup of men in tuxedos... Joan Abbott propelling areluctant Alice towards a group of guests Alice's age(Alice and Peter have separated)... and, finally, Pameladancing with a handsome young man (TED). She is the

belle of the ball, radiant and suddenly mature in herbeautiful gown. She smiles as she sees Doug, excusesherself, and comes over to him.

PAMELA:

How long have you been here?

DOUG:

A while.

PAMELA:

Are you okay?

DOUG:

I'm fine. Having fun?

PAMELA:

Yes, I am. Come on, dance with

me.

She pulls him towards the dance floor.

DOUG:

You didn't tell me I had to dance.

PAMELA:

Just one dance and we'll be even.

I won't have to be mad at you

anymore and you won't have to be

so sorry.

DOUG:

What am I supposed to be so sorry

about?

PAMELA:

Oh, you're not sorry?

DOUG:

All right, yeah, I'm sorry.

PAMELA:

Sorry about what?

(CONTINUED)

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DOUG:

You always do this to me.

PAMELA:

You said you weren't sorry and now

you say you are. So maybe I'm notsure what you're sorry about?

DOUG:

I'm sorry for what I'm supposed tobe sorry about. Okay?

PAMELA:

You're sorry for feeling me up?

DOUG:

(embarrassed)

Oh, sh*t, come on, Pam. Dammit.

For crying out loud. Forget it.

PAMELA:

I accept your apology. Let's

dance.

Doug allows Pam to pull him out onto the dance floor. He

feels like a dolt, but she arranges his hands on her andthey begin to dance. She gazes into his eyes and smiles:

PAMELA:

Hi.

DOUG:

Hi.

Pam is in love with Doug, she has been since they werechildren. Doug is mellowed by his tender feelings forher. For a golden minute they are in pleasurable bubbleof true affinity. But their bubble begins to deflate asDoug sees Joan Abbott staring at them. Her disapprovalis unmistakable. Doug steers Pam around the dance floorto avoid Joan's eyes, but then he sees Lloyd Abbott.

Lloyd's stare is even more discomforting. Pamela senses

the change in Doug's mood, but she is unaware of the

cause.

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