ACT ONE
FADE IN:
INT. THE LAB - NOON
Josh and Rodriguez are in the lab; Josh is standing at one of
the tables, straightening up some papers. Dr. Bennett comes
in.
BENNETT
(to Josh)
Ready to go?
JOSH
(looking around)
Uh...yeah.
BENNETT
(to Rodriguez)
If Dr. Rutherford wants me, I'm
helping Josh with something over
lunch.
RODRIGUEZ
You got it, Doc.
As she and Josh start to walk out, she stops and turns back.
BENNETT
On second thought, if Dr.
Rutherford wants me, tell him to
stuff it until I get back.
With that, Josh and Dr. Bennett leave. A moment later, the
phone on the wall rings. Rodriguez walks over and picks it
up.
RODRIGUEZ
(into the phone)
Hello? Oh—I'm sorry, but you
just missed him. He went to lunch
with Dr. Bennett. Do you want to
leave a message?
CUT TO:
EXT. THE CIVIC CENTER
As a group of protesters mills about, Sam and Harrison are
handing out picket signs to the demonstrators and leaflets to
passers-by.
ANGLE: LILY
Off to the side, cell phone in hand.
LILY
Uh, no...no message. Thanks
anyway.
She closes the phone and puts it away.
ANGLE: SAM AND HARRISON
SAM
(aside to Harrison)
Hey, are you okay?
HARRISON
Who me? I'm...just terrific.
Lily comes walking up to them.
SAM
That was short. How's Josh?
LILY
He was at lunch. I'll catch him
later.
(to Harrison)
How are you?
HARRISON
You know, it's nice that
everyone's so worried about me,
but really, I'll be fine. I'm
sorry about having to miss your
rally, though.
LILY
(smiling)
Don't worry about it. Putting
Nicole behind bars is as good a
cause as I can think of.
HARRISON
I just hope I don't do something
to keep her out.
SAM
Hey, the prosecutor said that
wasn't gonna happen, right? So,
we're fine.
HARRISON
That's what I said.
Sam sounds like she's trying to convince both of them.
SAM
Right.
Their attention is attracted by a honking horn, and they look
up to see a stretch limo pull up to the curb. The driver gets
out, rushes around to the back door, and opens it; whereupon
Mary Cherry steps out, looking around.
MARY CHERRY
Yoo hoo! Lil Lily!
SAM
I don't believe it. She actually
showed.
Lily swats Sam on the arm and waves.
LILY
Over here!
Mary Cherry comes trotting over.
MARY CHERRY
Am I too late?
LILY
You're just in time. We're
starting in a few minutes.
MARY CHERRY
(looking around)
All of these people are here just
to carry signs and walk around?
LILY
It's more than just walking
around, Mary Cherry. These people
are taking a stand for something
they really believe in.
(pause)
So, ready to get to work?
MARY CHERRY
You know, I was thinkin', what
could I, a humble neophyte at this
whole protestin' thing, most do to
help? Then I thought, well,
dummy, it's lunchtime, of course.
(pointing)
So I brought lunch.
They all follow Mary Cherry's pointing finger to an open spot
nearby, where two catering trucks have pulled up, and a bunch
of people are busily setting up a half-dozen food-laden
tables.
HARRISON
(appraisingly)
Nice spread.
MARY CHERRY
(pleased)
Why, thank you, Joe.
SAM
All right, the food is nice, but
let's not forget that we have a
message to get out?
Mary Cherry makes a pooh-poohing motion.
MARY CHERRY
Oh, I thought of that, too.
LILY
(cautiously)
You did?
MARY CHERRY
I sure did! You told me that
attractin' attention was the most
important thing, and if there's
one thing we Cherrys are good at—
besides looking glamorous, making
hordes of moolah, and marryin' the
most eligible bachelors—it's
gettin' the attention we deserve.
And sure enough, I came up with
the most sure-fire way to get
everyone's attention.
She points skyward, and the rest of them look up. High above
them, a small plane is circling, trailing a huge banner which
reads: "ENERGY PRICES SUCK". Lily, Sam and Harrison all
stare, open-mouthed.
MARY CHERRY (CONT'D)
(anxiously)
Well?
LILY
Mary Cherry... I love it!
Mary Cherry jumps up and down, clapping.
MARY CHERRY
You do?
HARRISON
(doubtfully)
You do?
LILY
It's PERFECT!
SAM
(even more doubtfully)
It is?
Lily elbows Sam, pointing up.
LILY
THAT will make the news.
Mary Cherry's attention has been captured by something else,
though.
MARY CHERRY
Do my eyes deceive me, or are
those television cameras over
there?
Lily looks; sure enough, a couple of local stations are
setting up their equipment on the plaza.
LILY
Well, of course, Mary Cherry. The
whole point of scheduling the
rally at noon is so TV stations
can cover it live.
Mary Cherry puts her hand to her heart.
MARY CHERRY
Why, Lil Lily...all this time I
only thought of you as a tree
huggin', bean-spout eatin' do-
gooder...to find out that you,
too, are versed in the art of
publicity-mongering... I have
sadly underestimated you.
Before Lily can figure out whether to be insulted or
complimented, a thought strikes Mary Cherry, and her eyes
widen in panic.
MARY CHERRY (CONT'D)
Oh my Gawd—I'm going to be on
TELEVISION?
Her hands fly to her head.
MARY CHERRY (CONT'D)
My face! MY HAIR!
Shrieking, she runs back to the limo and jumps in. A few
moments later, curious, the gang wanders over and peers in the
open door. Inside, a couple of assistants have turned the
back into an impromptu dressing room; one is expertly applying
makeup to Mary Cherry's face, while the other works on her
hair. From the other seat, an artiste type supervises.
MARY CHERRY (CONT'D)
Shame on you, Lily! You never
told me there would be cameras.
(pause)
Well, don't just stand there like
a piece of roadkill—get in here!
You can't go on TV looking like
that!
LILY
Mary Cherry, I really don't—
MARY CHERRY
Oh, hush, and get in!
Mary Cherry reaches out, grabs Lily by the arm, and drags her
into the limo.
MARY CHERRY (CONT'D)
(to the artiste type)
Pierre, this is Lil Lily. She's a
very good friend of mine, and you
HAVE to make her not look hideous
in five minutes.
Pierre reaches out and examines Lily's face before she can
stop him.
PIERRE
Well, I can't promise miracles...
but I think we can do something.
He holds out his hand, snapping his fingers, and has a kit
placed on it. He selects a brush and begins to apply makeup
to Lily's cheeks, while she makes a few sputtering noises of
protest.
CUT TO:
INT. A STORE - LATER
A narrow, mom-and-pop general store kind of place, warmly lit,
walls stacked to the ceiling with all sorts of things, in no
particular order. A bell attached to the front door rings as
it opens and Dr. Bennett and Josh walk in. As Josh looks
around, a large, stocky, 60-ish man emerges from the back
room. He spreads his arms when he sees them.
GUIDO
Ahh! Tina Bennettori! My little
farfalla!
JOSH
(aside to Dr. Bennett)
Bennettori?
BENNETT
The old family name. When my
grandparents came to America, they
decided they didn't want a name
that sounded like a pasta dish.
JOSH
Oh.
BENNETT
Uncle Guido, my friend Josh here
needs to see some wedding rings.
Guido looks back and forth between them.
GUIDO
Perhaps the two of you...?
BENNETT
(patiently)
No, Uncle Guido, Josh is already
married, to someone else. A high
school classmate, back in L.A.
GUIDO
Ah, young love...so romantic.
JOSH
Yeah, young love, small bank
account.
BENNETT
I thought maybe you could help
Josh find something nice, that he
can afford.
GUIDO
Of course, of course...
Guido disappears into the back room.
BENNETT
Uncle Guido's an old family
friend. He and my grandfather had
a restaurant in Little Italy up in
San Francisco about thirty years
ago. Then he semi-retired and
opened up this place. This is
where my wedding ring came from.
JOSH
Your ring?
BENNETT
Oh—it didn't work out. But the
ring was nice.
Guido comes out carrying a few jewelry cases, which he sets
down on a nearby counter. He points at Dr. Bennett and then
sets his hand waist-high.
GUIDO
I knew this one when she was this
tall.
BENNETT
That was about the time my mother
banned him from our house for
life.
GUIDO
(waving her off)
Ah, a simple misunderstanding.
So, young man—a diamond for your
lady, perhaps? Even a small
diamond can be dazzling in the
right setting.
JOSH
(shaking his head)
Lily wouldn't want a diamond.
(aside to Dr. Bennett)
Working conditions in South
African mines.
BENNETT
Ah.
GUIDO
Perhaps a sapphire then? Very
nice stones, the most brilliant
blue.
He picks a ring out of the topmost case and shows it to Josh,
who takes it gingerly.
JOSH
Hey, that IS nice. You know, I
think she'd like something like
this.
GUIDO
Very good. And for you, very
cheap. Three ninety-nine—
Dr. Bennett clears her throat loudly.
GUIDO (CONT'D)
—Two ninety-nine, very little
markup.
She eyes him severely.
GUIDO (CONT'D)
What am I saying? You must
forgive an old man. Two-fifty.
Practically my cost. And for the
gentleman...
He reaches down and pulls up another ring.
GUIDO (CONT'D)
The traditional gold band.
(eyeing Dr. Bennett)
For you, no charge.
JOSH
Wow, thanks.
GUIDO
Now, let me see your finger...
Guido takes Josh's ring finger and wraps a strip of paper
around it, marking off a measurement.
GUIDO (CONT'D)
Very good... And now, if you
could tell me the lady's size?
Josh suddenly seems at a loss.
JOSH
Uh...I don't know.
BENNETT
Josh?
JOSH
Well, Lily's not really into
jewelry. But I can find out.
(to Guido)
Can I call you with it later
today?
GUIDO
Of course, of course. It does
this old man's heart good, to see
such youthful passion.
Dr. Bennett leans over and kisses Guido on the cheek.
BENNETT
Thank you, Uncle Guido.
GUIDO
Ah, anything for you, farfalla.
Perhaps a kind word to your mama,
yes?
CUT TO:
EXT. THE CIVIC CENTER - LATER
The protest is in full swing, with people marching around,
waving their signs. The TV cameras, however, are focused on
something else: namely, Mary Cherry, who is putting on a
bravura performance.
MARY CHERRY
...yes, I, Mary Cherry, daughter
of Cherry Cherry, head of Cherry
Cherry Enterprises, have decided
to devote my time to this worthy
cause...
ANGLE: LILY, SAM AND HARRISON
watching the scene.
LILY
At least we're getting coverage.
SAM
SHE'S getting coverage. Let's
hope she mentions what we're
demonstrating for.
Mike comes up behind them.
LILY
Mr. McQueen! What are you doing
here?
MIKE
Harrison's mom got held up, so I'm
pretty much a glorified taxi
service now.
(to Harrison)
You ready?
HARRISON
Oh...sure. Thanks.
SAM
You mind dropping me at the
hospital on your way?
MIKE
That's not a problem.
SAM
(to Lily)
You don't mind me cutting out
early, do you?
LILY
Naw, go on. I got it covered.
A loud screeching noise in the distance makes them all turn.
MIKE
What the...?
A huge pink limo comes roaring down the street, screeching to
a halt in front of them. The door opens, and Cherry Cherry
climbs out. She storms over to the conglomeration of cameras.
CHERRY CHERRY
HOLD IT RIGHT THERE!
MARY CHERRY
M-Mama? What are you doing here?
CHERRY CHERRY
The question is, what in tarnation
are YOU doing?
MARY CHERRY
Why, I'm, I'm—
CHERRY CHERRY
You're makin' a complete ass of
yourself, that's what you're
doin'! Now get in the car—we're
going home!
(to the cameramen)
Turn them danged things off!
There's nothin' to see here!
Without waiting for a response, Cherry Cherry turns and starts
stomping back towards the limo; but Lily runs over to
intercept her.
LILY
Now, hold on, Mrs. Cherry. You
should be proud of your daughter—
she's doing something for a worthy
cause.
CHERRY CHERRY
Worthy cause? Hell, Cherrys don't
care about worthy causes, unless
of course they're tax-deductable!
Cherry Cherry looks back to see that Mary Cherry hasn't moved.
CHERRY CHERRY (CONT'D)
What are you doin', standin' there
like one of them wax statues? I
said, get in the car!
Mary Cherry looks around, fidgeting.
MARY CHERRY
(blurting)
No!
Cherry Cherry turns and fixes an icy glare at Mary Cherry.
CHERRY CHERRY
WHAT did you say?
MARY CHERRY
I—I—I said no! I'm not going.
I'm—I'm—TAKING A STAND!
For a long moment Cherry Cherry just stands there, looking
like she's going to explode.
CHERRY CHERRY
(hissing)
Well, you can take your stand
right out the door, little missy.
MARY CHERRY
(quails)
Mama?
CHERRY CHERRY
You heard me—I'm throwin' you out
of the house! Also, I'm
cancellin' your credit cards and
freezin' your bank accounts! As
of this moment, YOU ARE NO LONGER
A CHERRY!
Cherry Cherry turns and stalks off, leaving a shocked crowd in
her wake.
FADE OUT.
END OF ACT ONE