ACT FOUR
FADE IN:
INT. SOCIAL STUDIES CLASS - DAY
Mr. Osbourne is addressing the class.
OSBOURNE
Now, I know that to some of my
colleagues, a four-day weekend is
a good reason to assign four days'
worth of homework. I do not share
this view. Therefore, I wish only
that you enjoy your holiday.
A mild cheer rises; Mr. Osbourne puts up a hand.
OSBOURNE (CONT'D)
HOWEVER, you should all find time
to read the next two chapters of
"Red and White in America." We
will spend some time next week
discussing various influences of
Native-American culture.
He picks up a stack of papers and begins to walk around the
room, handing them out.
OSBOURNE (CONT'D)
As for your thoughts on
Thanksgiving, for the most part I
found them at least mildly
interesting.
After he hands her her paper, Sam looks up, a hurt expression
on her face.
SAM
(protesting)
Mr. Osbourne—!
OSBOURNE
(cutting her off)
Be assured, Miss McPherson, that I
gave each paper due consideration.
The bells rings, and Mr. Osbourne sits behind his desk as the
class files out.
OSBOURNE (CONT'D)
(beckoning)
Miss McPherson...
Sam stops at the desk and holds up her paper.
SAM
A zero?
In return, Mr. Osbourne holds up a paper of his own: a
printout of the original essay.
OSBOURNE
Does this look familiar, Miss
McPherson? It comes from a
certain website which offers
papers for those unmotivated to
write themselves.
(sighs)
I am disappointed, Miss McPherson.
Not only plagiarism, but lazy
plagiarism at that. You didn't
bother to change even one word.
Caught out, Sam turns from outraged to contrite.
SAM
(resigned)
All right, yes, I did it, I didn't
have time, I just panicked this
morning, please, PLEASE don't
report me, I SWEAR I'll never do
it again.
She stands there sweating under his gaze as, for a long
moment, he eyes her intently.
OSBOURNE
Very well. This ONE time, I will
allow this to remain in the
classroom. However, I shall NOT
tolerate a repetition of this
behavior. If anything similar to
this occurs again, you shall be
immediately removed from this
class and suspended from school.
Is this clearly understood, Miss
McPherson?
Sam nods compliantly, unwilling to chance saying anything.
OSBOURNE (CONT'D)
Good. You began this session as a
capable student, but your work has
slipped considerably. I shall
expect better from you in the
future.
He turns his attention away, effectively dismissing her.
CUT TO:
INT. SCHOOL HALLWAY - MOMENTS LATER
Sam emerges from Mr. Osbourne's classroom and stands there in
the empty corridor for a moment, looking miserable and
silently berating herself, before walking away.
CUT TO:
EST. THE L.A. CHRONICLE - EVENING
A stock night shot of the mid-rise building.
CUT TO:
INT. THE CHRONICLE NEWSROOM
Sam is sitting at her tiny desk, shuffling through papers,
when Fleischer comes up lugging a cardboard box, which he sets
down on the desk.
FLEISCHER
What's this?
SAM
(looking)
Those are the old Planning
Commission reports you wanted.
FLEISCHER
(patiently)
Sam, they have to be cross-indexed
by project location.
Sam's face screws up; she grabs the top sheet off the box.
SAM
What? No, I'm sure it said—
Reading, she lets out an anguished groan and buries her head
in her arms.
SAM (CONT'D)
(reaches for the box)
I'm sorry, I'll do it over, I
swear...
Fleischer holds out a hand to stop her.
FLEISCHER
Whoa...Sam, are you okay?
Sam just lays her forehead down. He kneels down and puts an
arm around her shoulder.
FLEISCHER (CONT'D)
What's going on? Lately you've
really lost your edge.
SAM
(muffled)
It's not a good time.
FLEISCHER
Tell you what—it's late. Go
home. Take tomorrow off.
SAM
(looking up)
Tomorrow's Thanksgiving.
FLEISCHER
(grins)
The secret to being magnanimous.
Don't tell anyone.
Sam manages a very weary laugh at that.
FLEISCHER (CONT'D)
Seriously...what are you doing
tomorrow?
SAM
(glum)
I don't know...maybe find a diner
that's open and has a turkey
dinner special?
FLEISCHER
You should go home.
SAM
You said that already.
FLEISCHER
No, I mean...home. Be with your
family.
SAM
(muttering)
I don't think I have a family
anymore.
FLEISCHER
Come on...you never know what a
little Thanksgiving spirit can
accomplish.
He stands up and pulls Sam out of her chair.
FLEISCHER (CONT'D)
I mean it—get out of here. All
this stuff'll keep.
Sam finally assents, picking up her coat.
SAM
I'm coming in Friday morning and
doing these over, I promise.
FLEISCHER
(laughing)
I believe you! Now go!
Sam manages something that might be an encouraging smile as
she pulls on her coat.
CUT TO:
INT. OUTSIDE SAM'S APARTMENT - LATER
Sam trudges up to her door, only to find a note taped to it.
The pulls the paper off and unfolds it.
SAM
(reading)
"Sam—raving up the coast for the
weekend. Happy turkey day—
Jaycee"
She crumples up the note and jams it in her pocket.
SAM (CONT'D)
Great.
With a heavy sigh, she unlocks the door and disappears inside.
DISSOLVE TO:
EST. THE CITY - DAY
An aerial panorama of the L.A. suburbs.
CUT TO:
INT. SAM'S APARTMENT - AFTERNOON
Sam is sitting at her little table, which is empty except for
a lone apple. She picks it up and starts to take a bite, but
then abruptly drops it, stands up and walks away.
CUT TO:
INT. CHERRY MANSION - LATER
In one of the mansions great rooms, people are mingling as
music wafts through the air.
CUT TO:
EXT. CHERRY MANSION
A parade of limousines and expensive sports cars lines the
circular drive—and into this exclusive scene rolls the Glass
mobile, honking its distinctive musical horn, while the valet
looks like he's watching aliens land.
The car door opens and out steps Miss Glass, wearing a formal
outfit which still somehow looks like a version of her lab
coat—and a full-blown, ten-gallon cowboy hat to top it all
off. Baxter, standing at the door, looks completely lost.
Then Mary Cherry appears in the doorway, and pushes her way
past him.
MARY CHERRY
Miss Glass! There ya are!
(beckoning wildly)
Come on in!
GLASS
(with an exaggerated accent)
Why, thank y'all, don' mind if I
do.
She hands her hat to Baxter on her way past.
GLASS (CONT'D)
Much obliged, parder.
CUT TO:
INT. MCQUEEN LIVING ROOM - LATER
Brooke is sitting on the sofa reading a magazine when Mike
comes down the stairs and heads for the kitchen.
BROOKE
(without looking up)
I'd stay out of the kitchen if I
were you.
Mike stops and turns around.
MIKE
Why?
BROOKE
You might get drafted for chopping
duty.
(setting her magazine down)
Did you know that Jane has this
insane side to her that only comes
out when she's cooking holiday
dinners?
MIKE
(shaking his finger at her)
Funny.
He continues on into the kitchen.
CUT TO:
INT. MCQUEEN KITCHEN - CONTINUOUS
The kitchen is, if not a mess, then at least busy: food seems
to be piled everywhere.
MIKE
So, honey, how's it—?
Before he can finish, Jane has swept around him, putting an
apron over his head and a knife in his hand.
JANE
(pointing)
I need those tomatoes diced.
Stunned, Mike hesitates for a moment—a moment too long for
Jane, who gives him a push.
JANE (CONT'D)
Now! Go go go!
In a daze, Mike heads for the counter.
CUT TO:
INT. MCQUEEN LIVING ROOM - LATER
Brooke folds up her magazine and sets it down on the coffee
table. After looking bored for a second, she reaches behind
the sofa and comes up with the phone. Settling back down, she
dials, and waits for several rings before she gets an answer.
HARRISON (V.O.)
(on the phone)
Hello?
BROOKE
(smiling)
Hey, you. What's going on over
there?
HARRISON (V.O.)
Ah...nothing, why?
BROOKE
Just wondering. Is your mom
cooking up a storm?
HARRISON (V.O.)
Well...no. You remember my Aunt
Nelly?
BROOKE
(frowning)
The one with the square glasses,
who always called me "B.B."?
HARRISON (V.O.)
Yeah. She got appendicitis last
night. So Mom drove down to San
Diego to be with her for a few
days.
BROOKE
Oh, that's too bad...
(pause)
Wait a minute—you're sitting home
alone?
HARRISON (V.O.)
Uh...yeah.
BROOKE
Come over here!
HARRISON (V.O.)
Ah...Brooke...
Brooke jumps off the couch, phone in hand.
CUT TO:
INT. MCQUEEN KITCHEN - MOMENTS LATER
Brooke appears in the kitchen entryway, holding the phone
against her chest.
BROOKE
Dad, can Harrison come over for
dinner?
Mike doesn't seem to know quite what to say.
MIKE
Uh, Brooke—
BROOKE
His mom had to go out of town, and
he's sitting at home all alone.
MIKE
(wavering)
I don't know...
Brooke sighs and looks at him through hooded eyes.
BROOKE
(edgily)
Dad, she's not coming.
Finally Mike, with a glance, passes the buck to Jane. She
stares hard at the counter space for a couple of moments
before looking up.
JANE
There's no reason why Harrison has
to spend Thanksgiving by himself.
Brooke puts the phone back to her ear.
BROOKE
Harrison? If you're not over here
in five minutes, I'm going to come
over there and drag you back.
Happily she turns and skips out of the room.
CUT TO:
EXT. MCQUEEN HOUSE - LATER
Harrison comes up the walk to the front door, and apparently
Brooke has been looking out for him, because the door opens
and she comes out to meet him. Harrison actually looks like
he's a little nervous to be around her.
BROOKE
Okay, before we go in, can I say
I'm sorry for acting psycho
lately?
HARRISON
It's okay, Brooke.
BROOKE
No, it's not. I don't know why,
whenever something goes wrong, the
first thing I do is push you away.
I don't want to. I hate fighting
with you.
HARRISON
Yeah...me too.
BROOKE
So, no more pushing away. Okay?
HARRISON
Are you going to tell me what's
wrong?
Brooke looks away for a long moment.
BROOKE
I guess...I have to.
(pause)
Can we talk about it tomorrow,
though?
HARRISON
Yeah.
BROOKE
(relieved)
Okay.
She leans in and kisses him.
CUT TO:
EXT. THE STREET - CONTINUOUS
The view from across the street and a couple of hundred feet
away, where Sam watches Brooke kiss Harrison, then take him by
the hand and lead him into the house. Shaking her head in
frustration and anguish, running her hands through her hair,
she turns and runs away.
DISSOLVE TO:
MONTAGE
A final montage, once more without dialog, of the various
Thanksgiving dinners:
First, the Cherry Mansion, where dinner is in full swing, and
Miss Glass is in even fuller swing, boisterously taking over
the dinner table, with the other guests looking, to various
degrees, horrified, mortified, or just shocked. Mary Cherry
is eating it all up, of course.
Next, dinner at the McQueens, which actually looks fairly
normal, with Mike, Jane, Brooke and Harrison sitting around
the dining room table, talking and laughing like a real
family.
And finally, Sam, sitting by herself in a booth at the coffee
shop, picking at a turkey plate.
DISSOLVE TO:
INT. CHERRY MANSION - EVENING
Servants are cleaning up after the party is over. Mary Cherry
walks into the great hall, only to be confronted by the rest
of the Cherry family, standing in a group.
MARY CHERRY
What's goin' on?
Cherry Cherry detaches herself from the group and steps
forward.
CHERRY CHERRY
Baby, we got somethin' to tell ya,
and it's gonna hurt.
MARY CHERRY
Why...whatever is it, Mama?
CHERRY CHERRY
The whole family's a major pow
wow, and...well, you're no longer
allowed to attend Cherry family
dinners.
MARY CHERRY
(shocked)
Yer...yer BANISHIN' me? Y'all
can't DO that! I'm a Cherry!
CHERRY CHERRY
I'm sorry, darlin', but it's been
decided. Yer jus' going to hafta
accept it, an' move on.
Mary Cherry sniffs, and wipes a tear away from her eye before
turning and, head hung low, disappearing through a doorway.
The various members of the Cherry family exchange sympathetic
glances—until the silence is shattered by:
MARY CHERRY (O.S.)
(from the next room)
YEEEEEE-HAWWWWW!
Cherry Cherry frowns suspiciously.
FADE TO BLACK.
END OF ACT FOUR
THE END