“Working with Keri was the best,” says Sandler. “She would bring her son to the set to play with my daughter. She also taught me all the dances from her days as a Mouseketeer. Plus, every day at lunch we’d have a curly-hair competition, and I would win—except on humid days.”

When asked whether moviegoers should expect an onscreen romance between the two, Russell answers bluntly. “We’re at odds at the beginning, and there is certainly a more, um—how shall I say this? —fuckable girl in it,” she says. “That’s actually her name: Fuckable Girl.” She pauses, then gives her character a little credit. “But I come up from the rear.” Somewhere out there, a Mousketeer or two just fell down three flights of stairs.

After polishing off her bacon-and-egg croissant, Russell steps up to a glass case full of muffins, sandwiches, and carrot cakes. The awestruck counter woman cheerfully fills a plastic container with pasta salad and a box with pastries for Russell to take home to her family for lunch. Her words are clipped and a little nervous—good choice; that’s delicious today; will that be all for you?—and it’s not until Russell exits the café that Counter Woman finds her voice. Every head turns as she calls out “Keri! Keri!” and Russell steps back inside, smiling. Counter Woman has finally worked up the nerve to say what’s on her mind: “Keri! Oh, I’m so sorry. It’s just . . . you owe me five more dollars.”