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The Internet Movie Script Database (IMSDb) | |
THE DEVIL WEARS PRADA | |
Written by | |
Aline Brosh McKenna | |
Based on the novel by Lauren Weisberger | |
Shooting Draft - September 9, 2005 | |
Blue Revisions - September 15, 2005 | |
Pink Revisions - September 20, 2005 | |
Green Revisions - October 9, 2005 | |
Yellow Revisions - November 9, 2005 | |
Goldenrod Revisions - November 14, 2005 | |
Salmon Revisions - December 9, 2005 | |
2nd Blue In Progress | |
MUSIC UP | |
FADE IN | |
STEAM ON A MIRROR | |
1 ...wiped off by ANDY SACHS, 20's, pretty but not glamorous, 1 | |
smart but green, hair up in a towel, brushing her teeth. We | |
intercut ANDY getting ready and... | |
... we see three or four other GIRLS getting ready too. | |
1A A drawer filled with about forty lipsticks slides into 1A | |
frame... One of the GIRLS carefully applies shiny lip gloss | |
with a brush... ANDY puts on cherry Chapstick... | |
1B&C A lacy thong floats through the air... one of the GIRLS pulls 1B&C | |
it up her glossy legs... A comfy cotton pair of Jockey | |
bikinis is tugged out of a pile... ANDY pulls them on... | |
1D A gorgeous pair of slingback heels. One of the GIRLS pulls 1D | |
the shoes on while her model handsome boyfriend reclines on | |
crisp white sheets, watching her. | |
1E A pair of comfortable wedges... ANDY dresses while NATE, 1E | |
rumpled, unshowered, wearing an old Alice in Chains t-shirt, | |
watches her, reclining in mismatched bed-in-a-bag sheets... | |
1F&G A series of quick cuts... ANDY eats a full breakfast -- eggs, 1F&G | |
bacon, bagel... One of the GIRLS carefully counts out seven | |
almonds and pours a huge cup of black coffee... | |
1H&I ANDY straightens a pile of newspaper clips from the Daily 1H&I | |
Northwestern with the byline ANDREA SACHS and proudly tucks | |
them into her hideous college-graduation-present briefcase... | |
One of the GIRLS takes Listerine breath strips, keys and a | |
Gucci moneyclip and shoves everything in a tiny Fendi clutch. | |
2 EXT. NEW YORK CITY -- DAY 2 | |
The GIRLS, looking flawless, fold their legs into taxis and | |
town cars as ANDY trots down the street and into the subway. | |
3 INT. OFFICE BUILDING LOBBY -- DAY 3 | |
ANDY strides into an office building, confident. A GUARD | |
stops her. Indicates she sign his clipboard. She signs in. | |
ANDY | |
What floor is Elias-Clarke? Human | |
Resources. | |
Beat. The GUARD just looks at her. What? | |
(CONTINUED) | |
2. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
3 CONTINUED: 3 | |
GUARD | |
Honey, you want West 57th. | |
4 EXT. 57TH STREET -- DAY 4 | |
ANDY runs, but she's moving against the pedestrian tide. We | |
widen out to see ANDY, bucking the flow like a salmon going | |
upstream. | |
She gets to an intersection, starts to cross the street... | |
...and just misses being decked by a bike messenger. | |
5 EXT. ELIAS-CLARKE -- DAY 5 | |
ANDY sees a tower looming in front of her. Elias-Clarke. | |
Streaming into the building are the polished GIRLS we saw in | |
the opening... their heels click-clack on the concrete... | |
They are the CLACKERS of Elias-Clarke. ANDY runs in. | |
6 OMITTED 6 | |
7 INT. ELIAS-CLARKE ELEVATOR -- DAY 7 | |
ANDY is a shrub in a CLACKER forest. One turns to another. | |
CLACKER #1 | |
You look awesome today. I can't wear | |
cropped pants. I look like a whale. | |
CLACKER #2 | |
Oh, please. I look terrible. I almost | |
called in fat today. | |
ANDY looks at them, then down at herself. If they're fat, | |
what am I? Ding! Elevator opens and ANDY exits. | |
8 INT. ELIAS-CLARKE HUMAN RESOURCES OFFICE -- DAY 8 | |
ANDY sits across from SHERRY, 40's. On the wall are covers | |
from the Elias-Clarke magazines -- a news magazine, a cooking | |
magazine, a fitness magazine... and Runway. | |
ANDY is unloading clips from her horrible briefcase. | |
ANDY | |
This article was about the Take Back | |
the Night march. This was a four-part | |
series on the impact of busing on the | |
public schools... | |
(CONTINUED) | |
3. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
8 CONTINUED: 8 | |
SHERRY holds up her finger to stop ANDY talking. | |
SHERRY | |
I have two positions available. One is | |
assistant to the road test editor of | |
Auto Universe magazine. | |
ANDY | |
(forces a smile) | |
And the other one--? | |
9 INT. RUNWAY RECEPTION AREA -- DAY 9 | |
Sleek, elegant, hard-edged chic. Behind the reception desk is | |
an elegant logo that says RUNWAY. ANDY walks over. | |
ANDY | |
Hi, I have an appointment with Emily | |
Charlton-- | |
EMILY (O.S.) | |
Andrea Sachs? | |
(EMILY (and MIRANDA, later) pronounce ANDREA Ahn-DRAY-a. ANDY | |
refers to herself as AN-dree-a.) | |
ANDY turns and sees a taller, thinner and, amazingly, more | |
groomed CLACKER. This is EMILY. She looks the part of the | |
sleek fashionista, but is propelled by a core of barely | |
tamped down anxiety. She examines ANDY. | |
EMILY (CONT'D) | |
Human Resources certainly has a | |
bizarre sense of humor. | |
(sigh, annoyed) | |
Follow me. | |
10 INT. RUNWAY HALLWAY -- DAY 10 | |
EMILY briskly walks ANDY down the hall. | |
EMILY | |
Okay, so... I was Miranda's second | |
assistant, but her first assistant | |
recently got promoted so now I'm the | |
first... | |
ANDY glimpses an office in front of them, seductively bright. | |
ANDY | |
And you're replacing yourself. | |
(CONTINUED) | |
4. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
10 CONTINUED: 10 | |
EMILY | |
I'm trying. Miranda sacked the last | |
two girls after only a few weeks. We | |
need to find someone who can survive | |
here. Do you understand? | |
ANDY | |
Yes. Of course. Who's Miranda? | |
EMILY | |
(eyes widening) | |
You didn't just ask me that. She's the | |
editor in chief of Runway. Not to | |
mention a legend. Work a year for her | |
and you can get a job at any magazine | |
you want. A million girls would kill | |
for this job. | |
ANDY | |
Sounds great. I'd love to be | |
considered. | |
She smiles. EMILY tries to think how to break it to her. | |
EMILY | |
Andrea, Runway is a fashion magazine. | |
An interest in fashion is crucial. | |
ANDY | |
What makes you think I'm not | |
interested in fashion? | |
EMILY gives her a look. ANDY smiles, like she has no idea | |
what EMILY could mean. | |
Suddenly, EMILY'S Blackberry goes off. She gasps. | |
EMILY | |
Oh my God. No. No, no, no. | |
ANDY | |
What's wrong? | |
11 EXT. ELIAS-CLARKE -- DAY 11 | |
A black sedan pulls to a sudden stop outside the building. | |
12 INT. RUNWAY - BULLPEN - DAY 12 | |
EMILY begins rapid-fire dialing four digit extensions. | |
(CONTINUED) | |
5. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
12 CONTINUED: 12 | |
EMILY | |
(all but screaming) | |
She's on her way -- tell everyone! | |
Just then a dapper man of about 40 walks briskly by. | |
NIGEL | |
I thought she was coming in at 9. | |
EMILY | |
Her driver text-messaged. Her | |
facialist ruptured a disk. God, these | |
people! | |
NIGEL turns and sees ANDY. Looks at EMILY. Who is that? | |
EMILY (CONT'D) | |
I can't even talk about it. | |
No time to discuss. NIGEL calls down the hallway. | |
NIGEL | |
All right, everyone. Man your battle | |
stations! | |
(beat, bewildered) | |
Did somebody eat an onion bagel? | |
Behind him, ANDY tries not to look guilty. | |
13 EXT. ELIAS-CLARKE -- DAY 13 | |
The sedan door opens. We see only flashes of MIRANDA, what | |
she's wearing, not the complete picture yet... | |
...Manolos, Chanel jacket, Van Cleef earrings... | |
14 INT. RUNWAY - BULLPEN -- DAY 14 | |
ASSISTANTS frantically push clothing rails out of the way. | |
EDITORS race into their office. | |
ANDY peers in. One of the EDITORS changes from kitten heels | |
to sky-high stilettos... | |
...another pulls on a body shaper under her dress... | |
...another hurriedly dumps the remains of her breakfast -- | |
some cubes of cantaloupe -- into the trash... | |
6. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
15 INT. ELIAS-CLARKE LOBBY -- DAY 15 | |
We watch MIRANDA walking through the lobby. We see PEOPLE | |
react to her-- | |
GUARDS, ASSISTANTS and SECRETARIES cower, DISTINGUISHED | |
EXECUTIVES bow their heads in respectful greeting. | |
MIRANDA maintains a high rate of speed towards the elevator. | |
She gets in. The CLACKER inside immediately leaps out. | |
CLACKER | |
Sorry, Miranda. | |
MIRANDA doesn't acknowledge her existence. | |
16 INT. RUNWAY - BULLPEN -- DAY 16 | |
EMILY races to the kitchen (right near their bullpen). Gets a | |
glass, reaches into the fridge, pours a Pellegrino. Races | |
into MIRANDA'S office. Races back out. Grabs an armful of | |
magazines and newspaper from her desk and runs back into | |
MIRANDA'S office. | |
17 INT. RUNWAY - RECEPTION AREA -- DAY 17 | |
...MIRANDA steps out of the elevator and for the first time | |
we see her head-on. | |
MIRANDA'S look is so distinctive you can spot her a mile | |
away. She is unlike any other beautiful woman, singularly | |
MIRANDA. | |
18 INT. RUNWAY - BULLPEN -- DAY 18 | |
EMILY types frantically into her computer, presses print, | |
stands by the printer waiting, takes the paper out of the | |
printer, puts it on a clipboard. Notices ANDY. | |
EMILY | |
Oh no. You're still here. Go. | |
ANDY gets up. | |
EMILY (CONT'D) | |
No, stay. I don't want you walking | |
past her. Just sit there and I'll pray | |
she doesn't notice you marring the | |
area. | |
ANDY sits back down. | |
(CONTINUED) | |
7. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
18 CONTINUED: 18 | |
ANDY | |
(to herself) | |
Wow, this is like self-esteem camp. | |
The rest of the office continues its hubbub... | |
19 INT. RUNWAY - HALLWAY -- DAY 19 | |
..until the moment MIRANDA enters the office from reception. | |
Instantly, a quiet falls. Everyone looks calm and | |
professional. Or fakes it. | |
EMILY, phony smile on her face, trots down the hall to walk | |
MIRANDA to her office. | |
MIRANDA | |
I don't understand why it's so | |
difficult to confirm an appointment. | |
EMILY | |
I'm so sorry, Miranda. I did confirm | |
last night, but-- | |
MIRANDA | |
The details of your incompetence do | |
not interest me. | |
MIRANDA gestures impatiently. EMILY hands her the clipboard. | |
MIRANDA peruses it as they walk down the hall. | |
MIRANDA (CONT'D) | |
Tell Simone I'm not approving the girl | |
she sent in for the Brazil layout. I | |
wanted clean, athletic, and smiling | |
not dirty, tired and paunchy... | |
EMILY follows her. | |
MIRANDA (CONT'D) | |
RSVP yes to the Michael Kors party -- | |
the car will drop me at 9:30 and wait | |
until I leave at 9:45... Tell Natalie | |
at Glorious Foods for the fortieth | |
time -- no, I don't want the tortes | |
filled with warm rhubarb compote. I | |
want the chopped almonds. | |
EMILY jots everything down. | |
(CONTINUED) | |
8. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
19 CONTINUED: 19 | |
MIRANDA (CONT'D) | |
Call my ex-husband and remind him the | |
Parent-Teacher conferences at Dalton | |
are tonight. Then call my husband and | |
tell him to meet me for dinner at that | |
place I went with Massimo... | |
EMILY | |
Right. | |
MIRANDA | |
And tell Richard I saw the pictures of | |
for the feature on female paramedics | |
and they're all so unattractive. I | |
don't understand. How hard is it to | |
find a decent-looking paramedic?... | |
Also, I need to see what Nigel has | |
called in for Gwyneth's second cover | |
try... | |
MIRANDA stops at EMILY'S desk, takes off her coat, dumps it | |
on EMILY'S desk, walks past ANDY, seeming not to notice her. | |
MIRANDA (CONT'D) | |
Who is that? | |
Damn. Did notice her. EMILY follows MIRANDA. | |
19A INT. RUNWAY - MIRANDA'S OFFICE 19A | |
EMILY | |
Nobody. Human resources sent her up | |
about the assistant job and I was pre- | |
interviewing her for you, but-- | |
MIRANDA | |
I'll do it. The last two you sent me | |
were total disappointments. Send her | |
in. | |
19B INT. RUNWAY - BULLPEN -- DAY 19B | |
EMILY walks out of MIRANDA'S office. Points at ANDY. | |
EMILY | |
She wants to see you.. Go go go.... | |
And before ANDY walks in, EMILY takes ANDY'S hideous | |
briefcase and chucks it under a desk. | |
9. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
20 INT. RUNWAY - MIRANDA'S OFFICE -- DAY 20 | |
ANDY walks in. MIRANDA'S office is chic, clean, walls lined | |
with photos by Avedon, Penn, Testino and Meisel. | |
We see large framed photo of MIRANDA, her husband STEPHEN and | |
her twin GIRLS, CASSIDY and CAROLINE, in the Hamptons. | |
The iced Pellegrino sits on a coaster on the desk. A pile of | |
magazines is fanned out precisely on a table. | |
MIRANDA | |
Who are you? | |
ANDY hands her resume to MIRANDA. MIRANDA ignores it. | |
ANDY | |
My name is Andy Sachs. I recently | |
graduated from-- | |
MIRANDA | |
What are you doing here? | |
ANDY | |
I think I could do a good job as your | |
assistant and-- | |
MIRANDA gives her a look. | |
ANDY (CONT'D) | |
(fast, blurting) | |
I came to New York to be a journalist | |
and I sent letters to everyone and I | |
finally got a call from Elias-Clarke | |
and met with Sherry in Human Resources | |
and basically it's this or Auto | |
Universe. | |
ANDY stops, can't quite believe she said that. MIRANDA takes | |
in this burst of honesty. | |
MIRANDA | |
So you don't read Runway? | |
ANDY | |
No. | |
MIRANDA | |
And before today, you had never heard | |
of me? | |
(CONTINUED) | |
10. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
20 CONTINUED: 20 | |
ANDY | |
No. | |
MIRANDA | |
And you have no style or sense of | |
fashion. | |
ANDY | |
That depends on-- | |
MIRANDA | |
That wasn't a question. | |
ANDY | |
I was Editor in Chief of the Daily | |
Northwestern. I won a national | |
competition for college journalists | |
with a series on the janitor's union -- | |
MIRANDA holds up her hand. | |
MIRANDA | |
That's all. | |
ANDY, startled by the abruptness, keeps talking. | |
ANDY | |
--that uncovered the exploitation of-- | |
MIRANDA stares. ANDY abruptly stops talking. Heads for the | |
door. Then she stops and turns. | |
ANDY (CONT'D) | |
Okay, you're right. I don't fit in | |
here. I'm not glamorous or skinny and | |
I don't know much about fashion. But | |
I'm smart, I learn fast and I will | |
work very hard. | |
And... MIRANDA says nothing. Just then we hear a voice, | |
someone heading into MIRANDA'S office. | |
NIGEL | |
We got the exclusive on the yellow | |
Cavalli for Gwyneth, the one he showed | |
with a huge feathered headpiece, but | |
she'll look like she's working the | |
mainstage at the Golden Nugget, so | |
instead... | |
NIGEL stops when he sees ANDY. | |
(CONTINUED) | |
11. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
20 CONTINUED: (2) 20 | |
ANDY | |
(to MIRANDA) | |
Thank you for your time. | |
She summons all her dignity and exits, walking past NIGEL, | |
who looks at MIRANDA. | |
NIGEL | |
Who IS that sad little person? Are we | |
doing a Before and After piece I don't | |
know about? | |
21 INT. ELIAS-CLARKE LOBBY -- DAY 21 | |
ANDY staggers out of the elevator, catching her breath. | |
Suddenly she hears someone calling. | |
EMILY | |
Andrea! | |
ANDY turns. And sees EMILY. | |
22 INT. NATE'S RESTAURANT -- NIGHT 22 | |
Nothing fancy. The kind of place that refills your Sprite. | |
ANDY is with two of her friends, DOUG and LILY. DOUG is built | |
like a linebacker and very sweet. And her boyfriend, NATE, | |
great looking, no vanity. He's the kind of guy who had his | |
own radio show in college and played intramural rugby. | |
It's the end of NATE'S shift and he's wearing his kitchen | |
whites. There are just a few people left in the restaurant | |
and at the bar. | |
NATE | |
Wow. You got a job at a fashion | |
magazine. | |
(beat) | |
Was it a phone interview? | |
ANDY laughs, smacks him playfully. | |
ANDY | |
Don't be a jerk. | |
DOUG | |
Miranda Priestly is famous for being | |
unpredictable. | |
(CONTINUED) | |
12. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
22 CONTINUED: 22 | |
ANDY | |
Okay, how is it that you know who she | |
is and I didn't? | |
DOUG | |
I'm actually a girl. | |
LILY | |
That would explain so much. | |
DOUG | |
Seriously, Miranda is a huge deal. I | |
bet a million girls would kill for | |
that job. | |
ANDY | |
Yeah, it's just that I'm not one of | |
them. | |
LILY | |
You have to start somewhere. Look at | |
this dump Nate works in. Paper | |
napkins? Hello? | |
NATE | |
(doesn't miss a beat) | |
And Lily works at that gallery doing-- | |
(to LILY) | |
What the hell is it that you do? | |
DOUG | |
Lucky for me, I have my dream job. | |
NATE | |
(huh?) | |
You're a corporate research analyst. | |
DOUG | |
-- which totally rocks. The free | |
bagels on Thursday? The booze? The | |
whores? | |
They look at him. | |
DOUG (CONT'D) | |
You're right. There are no bagels. And | |
only a few whores. | |
23 EXT. NATE'S RESTAURANT - STREET -- NIGHT 23 | |
The pavement is shiny from a recent rain. It's a chilly night | |
in March. ANDY and NATE walk home. | |
(CONTINUED) | |
13. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
23 CONTINUED: 23 | |
ANDY | |
You should see the way the girls dress | |
at Runway. I'm not sure I have | |
anything to wear to work. | |
NATE | |
You're going to be answering phones | |
and getting coffee. You need a | |
ballgown for that? | |
ANDY | |
I think I might. | |
NATE | |
I think you look great. Always. | |
She smiles. He pulls her in... | |
ANDY | |
You are so full of it. | |
He laughs, and kisses her. | |
NATE | |
Come on. Let's go home. I can think of | |
something you can do without clothes. | |
Just then a Lincoln Town Car comes barrelling up the street | |
going way too fast, almost clipping them. | |
NATE (CONT'D) | |
Asshole! | |
He and ANDY give the car the finger, laughing. | |
24 INT. ANDY AND NATE'S APARTMENT -- DAWN 24 | |
Small, with a view of an air shaft. The bed's a futon. On the | |
floor. ANDY and NATE are asleep. | |
Dim light trickles in. NATE wakes up, pulls ANDY closer. Soon | |
they're kissing. Their kisses become more urgent... | |
ANDY'S cell phone rings, shrill, annoyingly upbeat. She feels | |
around, finding the phone. | |
ANDY | |
Hello? Now? | |
She looks over at the alarm clock which reads: 6:15 AM. | |
14. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
25 INT. RUNWAY -- DAWN 25 | |
EMILY is in the office. | |
EMILY | |
Miranda decided to kill the Autumn | |
Jacket story for September -- she's | |
pulling up the Sedona shoot from | |
October. You need to go into the | |
office right this second. Pick up her | |
coffee order on the way. Write this | |
down. | |
26 OMITTED 26 | |
27 INT. ANDY'S APARTMENT -- MORNING 27 | |
ANDY has tried on every bit of clothing she owns; there's a | |
huge discard pile on the floor. Her closet is empty. | |
She looks at her outfit in the mirror. And is promptly | |
overcome by a wave of self-hatred. No time to fix it. | |
28 OMITTED 28 | |
29 EXT. STARBUCKS -- DAY 29 | |
ANDY, carrying a Starbucks tray loaded with coffee drinks and | |
snacks, races up the street, sloshing coffee on her shoes. | |
Her phone rings. | |
EMILY | |
Where are you? | |
ANDY | |
I'm almost there. | |
She runs faster. | |
30 INT. RUNWAY - RECEPTION -- DAY 30 | |
ANDY steps out of one elevator as NIGEL exits the other. A | |
beat. He realizes. | |
NIGEL | |
No... | |
ANDY | |
Yes. She gave me the job. | |
(CONTINUED) | |
15. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
30 CONTINUED: 30 | |
NIGEL | |
Clearly my opinion means nothing. | |
(extends his hand) | |
Nigel Kipling. Fashion Director. Let's | |
see what we're working with. | |
(examining her outfit) | |
Wow. It's like Oklahoma and New Jersey | |
had a baby out of wedlock. | |
ANDY | |
Actually, I'm from Cincinnati. | |
NIGEL | |
No, it's not possible. Not you. | |
As ANDY heads off down the hall... | |
NIGEL(CONT'D) | |
Welcome to the dollhouse, Baby. | |
31 INT. RUNWAY - MIRANDA'S OFFICE -- DAY 31 | |
MIRANDA is standing by the door to her office as LUCIA, a | |
beautiful Brazilian woman who is one of the Senior Editors, | |
walks in with a couple of FASHION ASSISTANTS. | |
MIRANDA | |
Is there a reason my coffee is not | |
here? Was I unclear in some way? | |
EMILY looks panicked. | |
32 INT. RUNWAY - BULLPEN -- DAY 32 | |
ANDY races down the hall, carrying the coffee to the bullpen. | |
Before ANDY can even say hello-- | |
EMILY | |
I hope you know this is a very | |
difficult job for which you are | |
totally wrong and if you mess up MY | |
head is on the chopping block. | |
EMILY takes the coffee, brings it into MIRANDA'S office, | |
walks back out to her desk. | |
EMILY (CONT'D) | |
Okay, first of all, you and I answer | |
the phones. The phone MUST be answered | |
every single time it rings. | |
(MORE) | |
(CONTINUED) | |
16. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
32 CONTINUED: 32 | |
EMILY (CONT'D) | |
Phones roll to voicemail, she gets | |
very upset. If I'm not here, you are | |
chained to this desk. | |
ANDY | |
What if the building's on fire or my | |
appendix explodes or something? | |
EMILY | |
One time an assistant left the desk | |
because she sliced her hand open with | |
a letter opener. Miranda missed | |
Lagerfeld right before he boarded a 17 | |
hour flight to Australia. She now | |
works at TV Guide. | |
ANDY | |
Man the desk at all times. Got it. | |
The phone RINGS. EMILY picks it up. | |
EMILY | |
Miranda Priestly's office. She's not | |
available. I'll tell her you called. | |
Yet again. | |
(back to ANDY) | |
Remember, you and I have totally | |
different jobs. You run errands, you | |
get coffee, etcetera. I am in charge | |
of her schedule, her expenses, her | |
appointments. And, most importantly... | |
(big drumroll, she beams) | |
I get to go with her to Paris for | |
Fashion Week in the fall. | |
EMILY points to her Arc de Triomphe screensaver. | |
EMILY (CONT'D) | |
(giddy) | |
I get to wear couture, go to all the | |
shows, all the parties, meet all the | |
designers. It's divine. | |
(sighs happily, then, | |
abruptly) | |
(MORE) | |
(CONTINUED) | |
17. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
32 CONTINUED: (2) 32 | |
EMILY (CONT'D) | |
Okay, stay here. I'm going to the art | |
department to give them the Book. | |
EMILY shows ANDY a thick scrapbook. | |
EMILY (CONT'D) | |
The Book is a mock-up of everything in | |
the current issue. We deliver it to | |
Miranda's apartment every night and | |
she returns it in the morning with her | |
notes. The second assistant is | |
supposed to do it, but Miranda is very | |
private and doesn't like strangers | |
going to her house. So until she | |
decides you're not a psycho, I get the | |
lovely task of waiting around for the | |
Book. | |
ANDY | |
How do I prove I'm not a psycho? | |
EMILY | |
I have no idea. | |
And with that, EMILY pivots and walks away. ANDY looks | |
around, unsure. | |
ANDY | |
Wait. What do I do if-- | |
EMILY keeps walking. And sure enough, the phone rings. ANDY | |
looks at it. | |
ANDY (CONT'D) | |
Oh no. | |
(takes a breath, picks up) | |
Mrs. Priestly's office. | |
(beat, wincing) | |
That's what I meant. Miranda | |
Priestly's office. | |
She searches around for a pen. | |
ANDY (CONT'D) | |
She's in a meeting. Can I take | |
message? I'm sorry. Can you spell | |
Gabbana-- | |
(they hang up) | |
Guess not. | |
She hangs up. Takes a breath. Okay. Got through one call. | |
(CONTINUED) | |
17A. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
32 CONTINUED: (3) 32 | |
Just then JOCELYN, the attractively tomboyish accessories | |
editor, walks out of MIRANDA'S office. | |
JOCELYN | |
Run-through at 3, shoot 8 am tomorrow. | |
Of course. No problem. | |
JOCELYN glares at ANDY. | |
JOCELYN (CONT'D) | |
Who the hell does she think I am, | |
Houdini? | |
ANDY | |
Hi, I'm Andy, I'm the new-- | |
JOCELYN | |
Great. Fantastic. If you'll excuse me, | |
I gotta go pull a bunch of fringe | |
purses out of my ass. | |
(CONTINUED) | |
18. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
32 CONTINUED: (4) 32 | |
ANDY turns and sees NIGEL walking down the hall carrying a | |
pair of stunning Dolce slingbacks. He holds out the shoes. | |
NIGEL | |
I guessed 8 1/2. | |
ANDY | |
That's very nice of you, but I don't | |
need those. Miranda hired me. She | |
knows what I look like. | |
NIGEL | |
Do you? | |
MIRANDA | |
Emily! | |
We hear MIRANDA clearly. She's not yelling. She never yells. | |
MIRANDA (CONT'D) | |
Emily! | |
NIGEL | |
She means you. | |
(nudges her) | |
Go. | |
ANDY takes a deep breath. | |
33 INT. RUNWAY - MIRANDA'S OFFICE 33 | |
ANDY appears in the door. MIRANDA is talking to PAUL, the art | |
director, who is showing her a layout. | |
MIRANDA | |
It's too dark. I can't see any of the | |
clothes... | |
PAUL | |
...I think he intended to use shadow | |
to show the contours of the... | |
MIRANDA | |
And what is this? I want the title of | |
the layout to bleed over the left side | |
of the photo... | |
PAUL | |
I see, well, we needed room for the | |
typeface to pick up the lines of the | |
dress, which is cut on the bias, so | |
we... | |
(CONTINUED) | |
18A. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
33 CONTINUED: 33 | |
MIRANDA | |
No, no, no. That's not what I want. I | |
made that abundantly clear... | |
MIRANDA looks up and sees ANDY. | |
MIRANDA (CONT'D) | |
There you are, Emily. How many times | |
do I have to scream your name? | |
ANDY | |
Actually, it's Andy. | |
MIRANDA gives ANDY a look. And ANDY notices she's brought the | |
room to a screeching halt. | |
ANDY (CONT'D) | |
My name is Andy. Andrea, but people | |
call me Andy. | |
(CONTINUED) | |
19. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
33 CONTINUED: (2) 33 | |
MIRANDA | |
What a fantastic story. So | |
entertaining and full of useful | |
information. | |
MIRANDA looks at her. And smiles. Terrifying. | |
MIRANDA (CONT'D) | |
I need ten or fifteen skirts from | |
Calvin Klein... | |
ANDY | |
What kind of-- | |
MIRANDA | |
Please bore someone else with your | |
questions. Make sure we can get Pier | |
59 at 8 am tomorrow... Remind Jocelyn | |
I want to see a few of those satchels | |
Marc is doing in the pony... And tell | |
Simone I'll take Frankie if Maggie is | |
not available tomorrow... And did | |
Demarchelier confirm? | |
ANDY | |
Demar-- | |
MIRANDA | |
Get him on the phone. | |
As ANDY leaves -- | |
MIRANDA (CONT'D) | |
And Emily. | |
ANDY turns. | |
ANDY | |
Yes? | |
And MIRANDA doesn't say anything. Just looks at ANDY'S shoes. | |
Then back up at ANDY. Her message unmistakable. | |
34 INT. RUNWAY OFFICE - BULLPEN -- DAY 34 | |
ANDY flies out of MIRANDA'S office, races over to the desk, | |
pulls on the Dolces. MIRANDA immediately calls out... | |
MIRANDA | |
Do you have Demarchelier? | |
(CONTINUED) | |
20. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
34 CONTINUED: 34 | |
ANDY tries to look the name up in the address book on the | |
computer. | |
ANDY | |
Demarchelier... Demarchelier... | |
Just then EMILY appears behind ANDY. She dials the phone. | |
EMILY | |
I have Miranda Priestly calling. | |
(calls out) | |
I have Patrick. | |
She flips the call to MIRANDA. Then turns to ANDY, who's | |
slightly panicked. | |
ANDY | |
She called me in and asked me about | |
Pier 59. She said something about | |
Simone and Frankie and someone else. | |
And she needs skirts from Calvin | |
Klein. I think that's the most | |
important thing, but I couldn't tell. | |
Oh, and there was something about a | |
pony. | |
EMILY | |
Did she say which skirts? | |
(ANDY shakes her head No) | |
Did she say what kind? | |
(No.) | |
Color? Shape? Fabric? | |
(No. No. No.) | |
ANDY | |
I tried to ask her, but-- | |
EMILY | |
You never ask Miranda. Anything. | |
(sighs) | |
All right, I'll take care of the other | |
stuff. You go to Calvin Klein. | |
ANDY | |
Me? | |
EMILY | |
I'm sorry. Do you have a prior | |
commitment? Is there some hideous | |
pants convention? | |
(CONTINUED) | |
21. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
34 CONTINUED: (2) 34 | |
ANDY | |
So I just, what, go down to the Calvin | |
Klein store and ask them-- | |
EMILY rolls her eyes so hard they almost eject from her head. | |
EMILY | |
You're not going to the store. | |
ANDY | |
Of course not. I'm going... to his | |
house. | |
EMILY | |
(oh god why me?) | |
You are catching on quickly. We always | |
send assistants to a designer's home | |
on their very first day. You're going | |
to his showroom. I'll give you the | |
address. | |
ANDY | |
Sorry. Got it. What's the nearest | |
subway stop? | |
EMILY | |
Good God. You do not. Under any | |
circumstances. Take public | |
transportation. | |
On ANDY. I don't? | |
35 EXT. ELIAS-CLARKE -- DAY 35 | |
ANDY steps out. Sees a Black Lincoln Town Car. She smiles. | |
36 EXT. ELIAS-CLARKE/INT. TOWN CAR -- DAY 36 | |
ANDY rides uptown. She looks around -- the magazines, the | |
tiny bottles of water, the little dishes of candy. The | |
driver, ROY, looks at her in the mirror. | |
ROY | |
Miranda's new assistant. Congrats. | |
ANDY | |
Thanks. | |
ANDY takes some candy. | |
(CONTINUED) | |
22. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
36 CONTINUED: 36 | |
ROY | |
You know-- | |
ANDY | |
You're going to say a million girls | |
would kill for my job. | |
ROY | |
Actually, I was going to say those | |
Jelly Beans are seven years old. | |
ANDY puts the candy back. | |
37 EXT. CALVIN KLEIN SHOWROOM -- DAY 37 | |
ANDY looks up at the showroom. Her phone rings again. | |
MIRANDA (O.S.) | |
Are you there? | |
ANDY | |
I'm about to walk in. I'll call you as | |
soon as-- | |
Click. Her phone immediately rings again. | |
EMILY (O.S.) | |
While you're out... Miranda needs you | |
to go to Hermes and pick up twenty | |
five scarves we ordered for her. | |
Cassidy forgot her homework at Dalton, | |
pick that up. And Miranda went out to | |
meet with Meisel, she'll want more | |
Starbucks when she gets back. | |
Click. | |
38 INT. CALVIN KLEIN SHOWROOM -- DAY 38 | |
LIZ, the sales rep, brings out a rack of skirts for ANDY. | |
LIZ | |
You must be new. Congratulations. | |
People would KILL for your job. I | |
would. I love Miranda. She's such an | |
icon. I've dealt with her a couple | |
times, but I'm sure she doesn't | |
remember. | |
Just then ANDY'S phone rings. | |
(CONTINUED) | |
23. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
38 CONTINUED: 38 | |
MIRANDA (O.S.) | |
What do they have? | |
ANDY looks at the rack, searching for the right terminology. | |
ANDY | |
There's a um, variety of skirts. Let's | |
see... | |
LIZ mouths "Is that her?" ANDY nods. LIZ smiles. | |
MIRANDA (O.S.) | |
Who's there? Who are you dealing with? | |
ANDY | |
I'm sorry. What's your name? | |
LIZ | |
Liz. | |
ANDY | |
It's Liz. | |
MIRANDA (O.S.) | |
Get away from her. She is useless and | |
unattractive. Ask for Ivan, tell him | |
we're doing a reshoot tomorrow and | |
need at least ten skirts. | |
Click. ANDY looks at LIZ. | |
LIZ | |
(eager) | |
What did she say? | |
ANDY | |
(wincing) | |
Is Ivan in by any chance? | |
LIZ | |
(crushed) | |
I'll get him. | |
39 & 40 OMITTED 39 & 40 | |
41 INT. RUNWAY - BULLPEN -- DAY 41 | |
ANDY walks in, laden with stuff and more coffee and snacks. | |
EMILY springs up. | |
(CONTINUED) | |
24. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
41 CONTINUED: 41 | |
EMILY | |
Oh my God. What took you so long? I | |
have to pee. | |
ANDY | |
You haven't peed since I left? | |
Just then MIRANDA walks through, dumps her coat on ANDY'S | |
desk and walks into her office. | |
EMILY | |
You do the coat. | |
She points to the closet. ANDY quickly hangs up the coat. | |
EMILY (CONT'D) | |
Now, be prepared. The run-through is | |
at 12:30 and people are panicking, so | |
the phone is going to be ringing off | |
the hook. | |
ANDY | |
The run-through. Right. | |
Clearly, she has no idea what a run-through is. | |
EMILY | |
(exasperated) | |
The editors bring in options for a | |
shoot and Miranda chooses. She chooses | |
every single thing in every single | |
issue. Run-throughs are a huge deal. | |
And indeed ANDY can see EDITORS running in and out of their | |
offices, rack of clothes and accessories flying. | |
ANDY | |
Is it always like this? | |
EMILY | |
No. Sometimes it's busy. | |
Just then the tallest, thinnest and most intimidating | |
CLACKER, the severely dressed, highly snobby SERENA, walks | |
over. | |
EMILY (CONT'D) | |
After the loo, Serena and I are going | |
to lunch. | |
(to SERENA, re: ANDY) | |
This is her. The new me. | |
(CONTINUED) | |
24A. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
41 CONTINUED: (2) 41 | |
SERENA eyes ANDY with disbelief. | |
EMILY (CONT'D) | |
I told you. | |
SERENA | |
I thought you were kidding. | |
EMILY | |
Oh, no. I was quite serious. | |
EMILY turns to ANDY. | |
EMILY (CONT'D) | |
I get twenty minutes for lunch, you | |
get fifteen. When I come back, you can | |
go. | |
As ANDY watches EMILY and SERENA'S thin hips as they move | |
down the hall, talking about how absurd ANDY looks. | |
(CONTINUED) | |
25. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
41 CONTINUED: (3) 41 | |
ANDY | |
You eat lunch? | |
42 INT. ELIAS-CLARKE CAFETERIA -- DAY 42 | |
A pasta bar. Deserted. | |
A pizza station. Not a soul. | |
A salad bar. Girls crowd the lettuce area, though no one's | |
within a mile of the dressing region. | |
ANDY races over to the deserted soup station. Quickly ladles | |
some corn chowder into a bowl. NIGEL walks by with his tray. | |
NIGEL | |
Corn chowder. Interesting choice. | |
ANDY looks at him, confused. | |
NIGEL (CONT'D) | |
You do know that cellulite is one of | |
the ingredients of corn chowder. | |
They walk over to the register, which has a long line. A few | |
GIRLS are openly gaping, amazed that ANDY selected chowder. | |
ANDY | |
None of the girls here eat anything? | |
NIGEL | |
Not since 2 became the new 4 and 0 | |
became the new 2. | |
ANDY | |
I'm a 6. | |
NIGEL | |
Which is the new 14. | |
ANDY dips a piece of bread in her chowder, eats it. Seeing | |
this, two of the CLACKERS gasp in horror... | |
Then ANDY notices she's dripped on her blouse. She dabs it. | |
NIGEL (CONT'D) | |
Something tells me you've got more | |
polyblend where that came from. | |
ANDY | |
Okay. You think my clothes are | |
hideous. I get it, okay? | |
(MORE) | |
(CONTINUED) | |
26. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
42 CONTINUED: 42 | |
ANDY (CONT'D) | |
But I'm not going to be working in | |
fashion forever. I don't see any | |
reason to change everything about | |
myself because I have this job. | |
NIGEL | |
You're right. That's what this multi- | |
million dollar industry is all about. | |
Inner beauty. | |
Just then NIGEL'S phone rings. He picks up, listens. | |
NIGEL (CONT'D) | |
Miranda wants us upstairs. Chairman's | |
on his way down to her office. | |
CLOSE ON... ANDY'S corn chowder and NIGEL'S salad being | |
chucked in the garbage. | |
43 INT. ELIAS-CLARKE - ELEVATOR -- DAY 43 | |
ANDY and NIGEL get in. IRV RAVITZ is already riding up. | |
NIGEL nods, deferential. | |
NIGEL | |
Mr. Ravitz. | |
IRV | |
Nigel. Issue going well? | |
NIGEL | |
Our biggest September ever. | |
IRV | |
Great. I heard Miranda killed Autumn | |
Jackets and pulled up the Sedona | |
shoot. What's that costing me? | |
NIGEL | |
About 300,000. | |
IRV | |
(smiles) | |
Must have been some lousy Jackets. | |
But I'm sure she knows what she's | |
doing. | |
NIGEL | |
Always. | |
IRV glances over at ANDY, offers his hand. | |
(CONTINUED) | |
26A. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
43 CONTINUED: 43 | |
IRV | |
Irv Ravitz. | |
NIGEL | |
I'm sorry... this is Andy Sachs, | |
Miranda's new assistant. | |
IRV | |
Congratulations, young lady. A | |
million girls would kill for that job. | |
The elevator opens. IRV nods to NIGEL and exits. | |
NIGEL | |
(to ANDY) | |
Chairman of Elias Clarke. You know | |
what they say, tiny man, huge ego. | |
(checks his watch) | |
We should have taken the stairs. | |
43A OMITTED 43A | |
43B OMITTED 43B | |
27. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
44 OMITTED 44 | |
45 INT. RUNWAY - MIRANDA'S OFFICE -- DAY 45 | |
Accessories are spread out on the floor in basket trays. | |
Clothes are on racks. MIRANDA clicks through the racks. | |
MIRANDA | |
No... No... No... I swear I don't | |
understand why it's so difficult for | |
you to pull together a decent run- | |
through. You had hours to prepare... | |
(continues clicking) | |
Where are all the advertisers? | |
LUCIA | |
We have some pieces from Banana | |
Republic and-- | |
(CONTINUED) | |
28. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
45 CONTINUED: 45 | |
MIRANDA | |
We need more. | |
MIRANDA holds up a skirt. Shows it to Nigel. | |
MIRANDA (CONT'D) | |
What do you think? | |
NIGEL | |
You know me. A full ballerina skirt | |
with a hint of saloon and I'm on | |
board. | |
MIRANDA | |
Is it too much like the-- | |
NIGEL | |
--LaCroix from July? I thought of | |
that, but with the right accessories, | |
it could work... | |
MIRANDA nods. He's right of course. | |
MIRANDA | |
Where are the belts for this skirt? | |
JOCELYN races over and holds up two belts. MIRANDA studies | |
them. ANDY looks at them too. To us, and to her, they look | |
exactly the same. | |
JOCELYN | |
Tough call. They're so different. | |
ANDY lets out a little giggle. And it's like she set off a | |
grenade. Slowly everyone turns to her. | |
MIRANDA | |
Is something funny? | |
ANDY | |
No, no, no. It's just... | |
And MIRANDA says nothing. ANDY twists in the wind. | |
ANDY (CONT'D) | |
It's just that both of those belts | |
look the same to me. I'm still | |
learning about this stuff, so-- | |
And the silence is deafening. Everyone looks to see what | |
MIRANDA will do. | |
(CONTINUED) | |
28A. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
45 CONTINUED: (2) 45 | |
MIRANDA | |
This... stuff? Okay. I understand. You | |
think this has nothing to do with you. | |
You go to your closet and select, say, | |
that lumpy blue sweater because you're | |
trying to tell the world that you take | |
yourself too seriously to care about | |
what's on your body. What you don't | |
know is that your sweater is not blue. | |
It's not even sky blue. It's cerulean. | |
You also don't know that in 2002, De | |
La Renta did a collection of cerulean | |
gowns, Yves St. Laurent showed a | |
cerulean military jacket, Dolce did | |
skirts with cerulean beads, and in our | |
September issue we did the definitive | |
layout on the color. Cerulean quickly | |
appeared in eight other major | |
collections, then the secondary and | |
department store lines and then | |
trickled down to some lovely Casual | |
Corner, where you no doubt stumbled on | |
it. | |
(MORE) | |
(CONTINUED) | |
29. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
45 CONTINUED: (3) 45 | |
MIRANDA (CONT'D) | |
That color is worth millions of | |
dollars and many jobs. And here you | |
are, thinking you've made a choice | |
that exempts you from the fashion | |
industry. In truth, you are wearing a | |
sweater that was selected for you by | |
the people in this room. From a pile | |
of stuff. | |
She smiles at ANDY. Who quakes. | |
MIRANDA (CONT'D) | |
That's all. | |
46 INT. ANDY & NATE'S APARTMENT -- NIGHT 46 | |
ON ANDY at home, pacing. She changes out of her work clothes | |
into sweats while NATE makes her what looks to be the | |
tastiest grilled cheese in history. | |
ANDY | |
You should have seen the look she gave | |
me. I thought the flesh was going to | |
melt off her face. | |
NATE laughs. | |
ANDY (CONT'D) | |
It's not funny. She could be the most | |
horrendous person I've ever met. She's | |
not happy unless everyone around her | |
is panicked, nauseous or suicidal. And | |
all the Clackers just WORSHIP her... | |
(off his confused look) | |
They call them Clackers. Their | |
stilettos in the marble lobby... | |
clack, clack, clack... | |
She pulls an ancient Northwestern sweatshirt over her head. | |
She starts eating the grilled cheese, gesturing angrily with | |
it as she talks. | |
ANDY (CONT'D) | |
And they all act like they're curing | |
cancer or something. The amount of | |
time and energy they spend on things | |
that DON'T MATTER!!! Poring over these | |
minute details. And for what? | |
(MORE) | |
(CONTINUED) | |
30. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
46 CONTINUED: 46 | |
ANDY (CONT'D) | |
So tomorrow they can spend an extra | |
300,000 dollars reshooting something | |
that was probably fine to begin with? | |
To sell people things they don't need? | |
She puts down the sandwich. | |
ANDY (CONT'D) | |
God, I'm not even hungry anymore. | |
Maybe that's why everyone there is so | |
skinny. | |
NATE | |
Gimme that. There's about eight | |
dollars worth of Jarlsberg in there. | |
He takes the sandwich, takes a bite. | |
ANDY | |
I just have to stick it out for one | |
year. Then I can do what I came to New | |
York to do. I can't let Miranda get to | |
me. I won't. | |
NATE | |
Easy, Killer. | |
ANDY | |
And give me that sandwich. | |
NATE | |
Oh, no way. It's mine now. | |
She grabs it away from him. He chases her, trying to get it | |
back. | |
MUSIC UP. THE WORK MONTAGE. | |
47 INT. RUNWAY - BULLPEN -- DAY 47 | |
MIRANDA walks past ANDY. ANDY puts her best face on. | |
ANDY | |
Good morning, Miranda! | |
Thwack! Miranda's coat lands on Andy's desk. | |
MIRANDA | |
Get me Isaac. | |
We see ANDY look through the computerized address book, find | |
the number. | |
Thwack! Another coat lands on ANDY'S desk. | |
31. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
47A INT RUNWAY - MIRANDA'S OFFICE 47A | |
IN HER OFFICE. | |
MIRANDA pushes her plate of scrambled eggs across the desk. | |
MIRANDA | |
These eggs are frigid. | |
47B EXT. DINER STREET -- DAY 47B | |
CUT TO: ANDY runs out of the diner, sprinting, holding | |
MIRANDA'S eggs. | |
47C INT. RUNWAY BULLPEN -- DAY 47C | |
Thwack! Another coat. | |
MIRANDA | |
Pick up the Polaroids from the | |
swimwear shoot. | |
47D INT. STUDIO -- DAY 47D | |
ANDY opens the door onto in a narrow room filled with semi- | |
naked women changing into bikinis. | |
Someone points ANDY towards the STYLIST... on the other side. | |
She picks her way across, trying not to stare and, in an | |
effort to avoid brushing against a body part, she veers into | |
a rack of clothing, sending it clattering into the wall. | |
47E INT. RUNWAY BULLPEN -- DAY 47E | |
Thwack! Another coat. | |
MIRANDA | |
The brakes in my car are making a | |
weird noise. Take it in. | |
47F EXT. STREET -- DAY 47F | |
CUT TO: ANDY, driving a Porsche up the street, brakes | |
squealing. She's terrified. | |
47FA INT. RUNWAY BULLPEN -- DAY 47FA | |
Thwack! Another coat. | |
MIRANDA | |
We need the hat from the finale of the | |
Zac Posen show. | |
32. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
47FB EXT. BRYANT PARK -- DAY 47FB | |
We see ANDY carrying the "hat" -- a funny, over-the-top | |
concoction (at least 30 inches tall, perhaps with a | |
taxidermied bird in it or something such...). People stare. | |
47G INT. RUNWAY BULLPEN -- DAY 47G | |
Thwack! Another coat. | |
MIRANDA | |
The girls need new boogieboards for | |
spring break. | |
47H INT. -- DAY 47H | |
ANDY walking down the street with two custom-painted boogie | |
boards under her arm. ANDY'S phone rings. She picks up. | |
EMILY (V.O.) | |
They also need flip flops. | |
ANDY does a 180 with the boogie boards, almost decking some | |
people. | |
47I INT. RUNWAY BULLPEN -- DAY 47I | |
Thwack! Another coat. | |
MIRANDA | |
Pick up my shoes from Manolo. | |
47J EXT. STREET -- DAY 47J | |
CUT TO: ANDY carrying a huge Manolo bag filled with shoe | |
boxes... | |
47K INT. RUNWAY - MIRANDA'S OFFICE -- DAY 47K | |
MIRANDA | |
...and while you're out, get Patricia. | |
47L EXT. STREET -- DAY 47L | |
Widen out to reveal she's not only carrying the luggage, | |
she's also fighting Patricia, a St. Bernard on a leash. | |
47M INT. RUNWAY - BULLPEN 47M | |
Thwack! Another coat! Thwack! Another coat! Thwack! Thwack! | |
Thwack! | |
32A. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
48 INT. RUNWAY - BULLPEN -- DAY 48 | |
ANDY is at her desk, exhausted, head in hands. | |
MIRANDA | |
Get me Isaac! | |
(CONTINUED) | |
33. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
48 CONTINUED: 48 | |
And this time, without consulting the Rolodex or even lifting | |
her head much, ANDY dials the number by heart. | |
ANDY | |
I have Isaac. | |
Widen out to see EMILY. A beat. | |
ANDY (CONT'D) | |
Wow. Thank God it's Friday, huh? | |
EMILY ignores her, busy assembling a stack of lookbooks to | |
return to the Art Department. | |
ANDY (CONT'D) | |
My Dad's coming in from Ohio this | |
weekend. We're having dinner tonight. | |
Then we're seeing "Chicago"... | |
EMILY says nothing. | |
ANDY (CONT'D) | |
You doing anything fun this weekend? | |
EMILY | |
Yes. | |
EMILY walks away. | |
49 EXT. ANDY & NATE'S APARTMENT -- EVENING 49 | |
We see ANDY'S dad, RICHARD, distinguished, if a few pounds | |
overweight, is ringing the doorbell to ANDY'S apartment. | |
ANDY calls down. | |
ANDY | |
Dad! I'll be right down! | |
50 INT. UPSCALE RESTAURANT -- NIGHT 50 | |
ANDY and her DAD are at an upscale, quiet restaurant. He | |
hands her an envelope. | |
RICHARD | |
Here. Don't want you to get behind | |
in your rent. | |
ANDY | |
How did you-- | |
(realizes) | |
I'm gonna kill Mom. Thank you. | |
(CONTINUED) | |
34. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
50 CONTINUED: 50 | |
She tucks it in her purse. They smile at each other. | |
ANDY (CONT'D) | |
It's so good to see you. You want | |
to start grilling me now or should | |
we wait until after dinner? | |
RICHARD | |
(grins) | |
Thought I'd let you at least enjoy | |
the bread basket first. | |
ANDY | |
(smiles) | |
Oh, just go ahead. | |
RICHARD | |
We're just a little worried. We get | |
emails from you at your office at 2 | |
am, your pay is terrible, you don't | |
get to write anything... | |
ANDY | |
(still trying to keep it | |
light) | |
Hey. Not fair. I wrote those e- | |
mails. | |
RICHARD | |
I'm just trying to understand why | |
someone who was accepted to | |
Stanford Law turns that down to be | |
a journalist and now you're not | |
even doing that-- | |
ANDY | |
Oh please. Not this again. | |
RICHARD | |
Why did you even bother applying to | |
law school? | |
ANDY | |
Because it's what you wanted. This is | |
what I want. | |
RICHARD | |
This? Being a secretary? | |
ANDY | |
I'm an executive assistant. | |
(CONTINUED) | |
35. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
50 CONTINUED: (2) 50 | |
RICHARD | |
You hang coats, you go to Starbucks, | |
you're a secretary, Andy. | |
ANDY | |
You have to trust me. Being Miranda's | |
assistant opens a lot of doors. Emily | |
is going to Paris with Miranda in a | |
few months, she'll meet editors and | |
writers from every important magazine. | |
But RICHARD still looks dubious. | |
ANDY (CONT'D) | |
Dad, I swear. This is my break. This | |
is my chance. This is my-- | |
Just then the cell phone rings. ANDY looks down at it. | |
ANDY (CONT'D) | |
-boss. | |
RICHARD looks at her. | |
ANDY (CONT'D) | |
I have to get it. | |
ANDY picks up her cell phone. | |
51 INT. MIAMI INTERNATIONAL AIRPORT -- NIGHT 51 | |
MIRANDA is surrounded by crowds heading home for the weekend. | |
MIRANDA | |
My flight is cancelled... Some absurd | |
weather problem. | |
She starts moving through the airport. | |
MIRANDA (CONT'D) | |
I have to get home. Tonight. The twins | |
have a recital at school tomorrow | |
morning. | |
52 INT. UPSCALE RESTAURANT -- NIGHT 52 | |
RICHARD looks at ANDY. | |
ANDY | |
Absolutely, Miranda. Let me see what I | |
can do. | |
(CONTINUED) | |
36. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
52 CONTINUED: 52 | |
She hangs up, looks at RICHARD. | |
ANDY (CONT'D) | |
(apologetic) | |
I'm so sorry, Dad. I have to deal with | |
this. | |
53 EXT. STREET -- NIGHT 53 | |
QUICK CUTS of ANDY on the cell phone as she and RICHARD walk | |
through Times Square. | |
ANDY | |
I need a jet from Miami to New York... | |
(jump cut) | |
A jet, any kind of jet... | |
(jump cut) | |
Yes, tonight, right now. | |
(jump cut) | |
From Miami to New York. | |
(jump cut) | |
As soon as possible. Please call me | |
back as soon as the situation changes. | |
(jump cut) | |
I'm trying, Miranda. No one is flying | |
out because of the weather. | |
Throughout, ANDY gestures to her Dad... I'm sorry. This will | |
just take a second. | |
54 INT. MIAMI INT'L AIRPORT -- NIGHT 54 | |
MIRANDA looks out the window at the squall. | |
MIRANDA | |
Please. It's just drizzling. Someone | |
must be getting out. Call Donatella | |
and get her jet. Call everyone with a | |
jet -- Irv, Armani... | |
ANDY (O.S.) | |
But-- | |
And MIRANDA hangs up. | |
55 EXT. THEATER -- NIGHT 55 | |
A few minutes later. ANDY stands there, clutching her phone, | |
thinking... | |
RICHARD | |
Andy, come on. Let's go in. | |
(CONTINUED) | |
37. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
55 CONTINUED: 55 | |
ANDY | |
I've done everything I could think of. | |
I don't know what else to do. | |
ANDY's phone rings again. RICHARD looks at her. | |
ANDY (CONT'D) | |
I'm sorry, Dad. | |
(she picks up) | |
Miranda, you don't understand. Even if | |
I get you a plane, they won't let you | |
take off tonight and-- | |
MIRANDA | |
Emily. Stop making excuses. GET ME | |
HOME. | |
She hangs up. | |
ANDY | |
Oh my God. She is going to murder me. | |
RICHARD | |
Would it help if I talked to her? | |
56 INT. RUNWAY - MIRANDA'S OFFICE -- DAY 56 | |
ANDY stands in front of MIRANDA'S desk, cowed. | |
MIRANDA | |
The girls' recital was wonderful. They | |
played Rachmaninoff and everyone loved | |
it. Except for me... because I was not | |
there. | |
ANDY | |
I'm so sorry, Miranda. | |
MIRANDA turns away from the window to look at ANDY. | |
MIRANDA | |
Do you know why I hired you? | |
ANDY shakes her head. MIRANDA turns to face her. | |
MIRANDA (CONT'D) | |
I always hire the same girl, stylish, | |
slender, worships the magazine. And | |
often they turn out to be | |
disappointing and stupid. | |
ANDY blanches. | |
(CONTINUED) | |
38. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
56 CONTINUED: 56 | |
MIRANDA (CONT'D) | |
But you, with your fancy resume and | |
your big speech about your so-called | |
work ethic-- I thought you would be | |
different. I thought, go ahead, take a | |
chance, hire the smart, fat girl. | |
ANDY'S eyes widen (she's not even remotely fat, of course.) | |
MIRANDA (CONT'D) | |
I had hope. I always have hope. But | |
you're as disappointing as anyone | |
else. | |
ANDY | |
I did everything I could think of-- | |
MIRANDA | |
That's all. | |
And she goes back to her work. ANDY stands there a second, | |
then leaves. And we see her eyes start to well. | |
57 INT. RUNWAY - BULLPEN -- DAY 57 | |
ANDY comes out of the office, biting back tears. She | |
immediately starts running down the hall. | |
EMILY | |
Excuse me, where do you think you-- | |
ANDY keeps running. | |
58 INT. RUNWAY - NIGEL'S OFFICE -- DAY 58 | |
ANDY walks in, very upset. NIGEL looks up, surprised. | |
ANDY | |
She hates me, Nigel. | |
NIGEL | |
And that's my problem because -- wait, | |
no. Not my problem. | |
ANDY | |
I need your help. I don't know what to | |
do. It's like I'm completely beneath | |
her contempt. | |
NIGEL | |
So quit. | |
(CONTINUED) | |
38A. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
58 CONTINUED: 58 | |
She looks at him. What? | |
NIGEL (CONT'D) | |
We could replace you in five minutes. | |
With someone who really wants this | |
job. | |
ANDY | |
That's not fair. I'm lucky to be | |
working for Miranda -- I didn't get | |
that at first, but I do now. I want to | |
be here. But it just seems like no | |
matter how hard I try, I don't do | |
anything right. | |
(CONTINUED) | |
39. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
58 CONTINUED: (2) 58 | |
NIGEL | |
Andy, please. Be serious. You're not | |
trying. You're whining. | |
She looks shocked. | |
NIGEL (CONT'D) | |
You want me to say poor you, Miranda | |
is picking on you? She's just doing | |
her job. Wake up, Six. You're working | |
at the place that first published some | |
of the major artists of the century -- | |
Halston, De La Renta, Lagerfeld. And | |
what they made is cooler than art, | |
because you live your life in it -- I | |
mean, not you, but some people. This | |
is not just a magazine. It's a shining | |
beacon of hope for, oh, I don't know, | |
say a young boy growing up in Rhode | |
Island with six brothers, pretending | |
to go to soccer practice when he was | |
actually at sewing class and reading | |
Runway at night under the covers with | |
a flashlight. | |
He picks up steam as he talks. | |
NIGEL (CONT'D) | |
You have no idea how many legends have | |
walked these halls and what's worse, | |
you don't care. Because this is a | |
"stepping stone" for you. This place, | |
that people would die to work, you | |
deign to work. And you want to know | |
why she doesn't give you a kiss on the | |
forehead and put a gold star on your | |
homework? | |
ANDY | |
Okay, fine! | |
He looks at her. | |
ANDY (CONT'D) | |
You're right. I'm screwing this up. | |
And I know this could be a big break | |
for me. I'm going to try harder, I | |
promise. But there's one thing I can't | |
do by myself. | |
She looks at him. He realizes what she's asking. | |
(CONTINUED) | |
40. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
58 CONTINUED: (3) 58 | |
NIGEL | |
Oh, no. No way... | |
ANDY | |
You do it with the other girls. | |
NIGEL | |
The other girls are different. They | |
really want it. | |
ANDY | |
Please, Nigel. Don't make me beg... | |
He looks at her, thinking... | |
59 INT. RUNWAY - CLOSET -- DAY 59 | |
NIGEL swings open the door to... | |
...a large room piled high with shoes, bags, clothes, furs, | |
jewelry. ANDY follows, looking around at everything. | |
NIGEL | |
I don't know what you expect me to do. | |
These are all sample sizes -- 2 and 4. | |
He thinks, hands her an item. | |
ANDY | |
A... poncho? | |
NIGEL | |
You'll take what I give you and you'll | |
like it. | |
He looks around, assessing everything with a practiced eye. | |
Then he starts flings clothing at ANDY. | |
NIGEL (CONT'D) | |
Versace peasant skirt -- we can pull | |
it up, belt it, make it a dress... Miu | |
Miu boyfriend cardigan... Alberta | |
Ferretti dress -- smocked, very | |
forgiving. And let's find you some | |
Chanel. You're in desperate need of | |
Chanel. | |
As she catches the clothing. | |
(CONTINUED) | |
41. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
59 CONTINUED: 59 | |
NIGEL (CONT'D) | |
Don't just stand there. We have to get | |
you to the beauty department too. And | |
God knows how long that will take. | |
60 INT. RUNWAY - BULLPEN -- DAY 60 | |
EMILY is talking to SERENA. | |
EMILY | |
I have no idea why Miranda hired her. | |
SERENA | |
Me, neither. The other day we were in | |
the Beauty Department and she held up | |
the Shu Uemura eyelash curler and said | |
"What is this?" | |
They laugh at the total absurdity of this. | |
EMILY | |
I knew from the moment I saw her that | |
she was a complete and utter-- | |
And suddenly ANDY appears in her gorgeous clothes, her make- | |
up impeccable, hair soft, loose and pretty. | |
She looks grown-up, sexy and above all sophisticated. | |
EMILY (CONT'D) | |
(voice trailing) | |
--disaster. | |
ANDY sits down at her desk, pretends she didn't hear her. | |
EMILY is still staring. ANDY'S phone rings. | |
ANDY | |
Miranda Priestly's office. She's not | |
in. I'll leave word. | |
She hangs up. EMILY is still gaping. | |
ANDY (CONT'D) | |
(in EMILY'S posh accent) | |
Can I help you, luv? | |
61 EXT. NATE'S RESTAURANT -- NIGHT 61 | |
ANDY waits for NATE outside his restaurant in the alley. He | |
walk out, bantering with a couple other cooks. He starts to | |
walk away, going... | |
(CONTINUED) | |
41A. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
61 CONTINUED: 61 | |
...right past ANDY. Stops. Walks back a few steps. | |
He looks her up and down, stunned. | |
ANDY | |
What do you think? | |
NATE | |
I think we better get out of here | |
before my girlfriend sees me with you. | |
She smiles, grabs his hand and walks him down the alley. To | |
where her town car is waiting. | |
(CONTINUED) | |
42. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
61 CONTINUED: (2) 61 | |
ANDY | |
Wanna lift, stranger? | |
MUSIC UP. THE MAKEOVER MONTAGE. | |
62 EXT. ANDY & NATE'S APARTMENT -- DAY 62 | |
We see ANDY exit her apartment, wearing a fabulous outfit... | |
she walks behind a newsstand, emerging from the other side... | |
in a completely different fabulous outfit... | |
62A&B EXT. SUBWAY -- DAY 62A&B | |
She goes into the subway, then comes out of the subway in yet | |
another great outfit... | |
62C&D EXT. STARBUCKS -- DAY 62C&D | |
She enters Starbucks... emerges wearing another outfit, heads | |
down the street... and walks behind a bus, emerging from the | |
other side in one more fantastic outfit... | |
62E EXT. ELIAS-CLARKE -- DAY 62E | |
Each outfit over the course of the montage improves on the | |
one before... until we see ANDY walking in the plaza of Elias- | |
Clarke, indistinguishable now from all the other CLACKERS. | |
62F INT. RUNWAY - RECEPTION - DAY 62F | |
Andy walks through the reception area, walks behind a wall, | |
and continues through the hallway in another fabulous outfit. | |
63 INT. RUNWAY - MIRANDA'S OFFICE 63 | |
ANDY enters. Sets a glass of Pellegrino down on the table. | |
Just then MIRANDA enters, on the cell phone. | |
MIRANDA | |
The gowns are fabulous, Ralph. We're | |
using the burgundy for the cover try | |
and the lemon chiffon for the goddess | |
story. | |
And just then she looks up and sees ANDY. The transformed | |
ANDY. And her reaction of approval is tiny, but it's there. | |
Of course she keeps talking like she didn't notice a thing. | |
64 OMITTED 64 | |
42A. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
65 INT. BAR -- NIGHT 65 | |
ANDY joins her friends and NATE. She plops an expensive, | |
fancy Bang & Olufsen phone on the table. | |
ANDY | |
Bang & Olufsen. Charlie Rose sent it | |
to Miranda for her birthday. | |
(MORE) | |
(CONTINUED) | |
43. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
65 CONTINUED: 65 | |
ANDY (CONT'D) | |
I looked it up online. It's 750 | |
dollars. She doesn't want it, so Emily | |
told me to keep it. Oprah sent a | |
present. So did Jessica Simpson. And | |
Nelson Mandela. | |
NATE | |
All for a woman who doesn't need | |
anything. Perfect. | |
She reaches into her bag, hands out perfume, cosmetics. Etc. | |
ANDY | |
Here... A bunch of Kiehl's, some Mason | |
Pearson hair brushes... | |
DOUG | |
Dammit, I love your job. | |
DOUG picks up one of the perfume bottles and is about to | |
spray it on his hand when ANDY stops him. | |
ANDY | |
It's called "Pink". For women. | |
DOUG | |
Men can be pink. I have a pink side. | |
LILY | |
Please. We're eating. | |
ANDY hands LILY a blue purse. LILY gasps. | |
LILY (CONT'D) | |
Where did you get this? This is the | |
new Marc Jacobs, sold out everywhere. | |
It's nineteen hundred dollars. I can't | |
take this. | |
But LILY'S already happily transferring her things from her | |
old purse into the new one. | |
ANDY | |
Sure you can. | |
NATE | |
Why do women need so many bags? You | |
get one, it holds all your junk, | |
aren't you done? | |
(CONTINUED) | |
44. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
65 CONTINUED: (2) 65 | |
DOUG | |
Fashion is not about utility, Nate. An | |
accessory is merely a piece of | |
iconography used to express individual | |
identity. | |
LILY | |
And it's preeeetty. | |
DOUG | |
That too. | |
ANDY | |
Thing is, it turns out there's a lot | |
more to Runway than fancy purses... | |
you know who's coming into the office | |
Friday? John Updike. | |
NATE | |
Why, does he need a sweater? | |
They all laugh. ANDY plucks the current issue of Runway out | |
of her purse. | |
ANDY | |
(a bit peeved) | |
Look, there's a piece by Jay | |
McInerney, an essay by Joan Didion, an | |
interview with Christiane Amanpour | |
oh... | |
NATE | |
Look who's drinking the KoolAid. | |
She gives him a look. Just then ANDY'S cell phone rings. | |
MIRANDA. NATE grabs it. | |
ANDY | |
Give me the phone. | |
He checks the name on the phone. | |
NATE | |
Oh, look. The Dragon Lady. Of course. | |
ANDY | |
Give me the phone. | |
ANDY grabs for the phone. NATE tosses it to LILY. | |
(CONTINUED) | |
45. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
65 CONTINUED: (3) 65 | |
LILY | |
I'll talk to her. Tell her she needs | |
to get her own scrambled eggs. | |
She tosses it to DOUG. ANDY practically tackles him, grabs | |
the phone away. | |
ANDY | |
Come on, guys. Give me the phone! | |
They are all stunned by her vehemence. Including ANDY. | |
ANDY (CONT'D) | |
Hello, Miranda. | |
(beat) | |
Fine. No problem. I'm leaving right | |
now. | |
(hangs up) | |
You guys didn't need to be such | |
assholes. | |
She exits. And all her friends exchange a look. | |
66 & 67 OMITTED 66 & 67 | |
68 EXT. JAMES HOLT'S LOFT -- NIGHT 68 | |
ANDY pulls up in front of a loft building in Tribeca. | |
69 INT. JAMES HOLT'S LOFT -- NIGHT 69 | |
ANDY rings the buzzer. No answer but she can hear VOICES | |
behind the door. She pushes it and it opens. Inside is a loft | |
with a party going on. | |
ANDY looks around -- it's one of those New York parties you | |
think you'll never be invited to. She walks over to one of | |
the super hot women. | |
ANDY | |
I'm looking for James Holt... | |
She points to a handsome man by the window. JAMES HOLT, one | |
of the top designers, 40's, muscular, tan, impeccable. | |
ANDY walks over to him. | |
ANDY (CONT'D) | |
Hi, I'm Andy. I'm picking up for | |
Miranda Priestly. | |
(CONTINUED) | |
46. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
69 CONTINUED: 69 | |
JAMES | |
You must be the new Emily. Let me see. | |
He checks her out. Looks at her handbag. | |
JAMES (CONT'D) | |
Open-woven leather, pieced by hand and | |
finished with a suede trim. Who made | |
this fantastic thing? | |
ANDY | |
You. | |
JAMES | |
Duh. | |
He hands her a folio with a handle. | |
JAMES (CONT'D) | |
It's a sketch of Miranda's dress for | |
the benefit, the centerpiece of my | |
spring collection. Top secret stuff. | |
ANDY takes the folio. | |
ANDY | |
I'll guard it with my life. | |
JAMES | |
Come on. You work for Miranda, you | |
must be in desperate need of hard | |
liquor. | |
He walks her to the bar. She tries not to stare at the party | |
GUESTS... is that Lenny Kravitz? Is that Julian Schnabel? | |
JAMES (CONT'D) | |
(to the BARTENDER) | |
She'll have the punch. | |
(hands her the punch) | |
It's deadly. Have fun! | |
And he walks away. ANDY clutches the glass of punch. | |
CHRISTIAN | |
He's right. I had the punch at James's | |
last party, woke up in Hoboken wearing | |
nothing but boxers and a cowboy hat. | |
She looks over. Sees a great-looking, sophisticated man in | |
his 30's who has an air of mischief. CHRISTIAN THOMPSON. | |
(CONTINUED) | |
47. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
69 CONTINUED: (2) 69 | |
ANDY | |
Hi. I, um... I have to go. | |
CHRISTIAN | |
But you want to stay. You've never | |
been to a party like this. | |
ANDY | |
God, I love it when total strangers | |
tell me how I feel. | |
CHRISTIAN | |
That's my way. | |
(extends his hand) | |
Christian Thompson. | |
ANDY | |
Christian Thompson? You're kidding. | |
You write for every magazine I love. I | |
actually reviewed your collection of | |
essays for my college paper. | |
CHRISTIAN | |
Did you mention my good looks and | |
killer charm? | |
ANDY | |
No, but I did point out some factual | |
errors and a penchant for | |
confessional semi-fiction that borders | |
on self-indulgent. | |
CHRISTIAN | |
You and the Times. | |
(laughs) | |
And what do you do? | |
ANDY | |
Well, I want to work somewhere like | |
the New Yorker or Vanity Fair. I'm | |
also a writer, but-- | |
CHRISTIAN | |
Is that right? I should read your | |
stuff. Send it over. | |
ANDY | |
Thank you. That would be great. | |
Anyway, for now I'm Miranda Priestly's | |
assistant. | |
And his expression immediately changes. | |
(CONTINUED) | |
48. | |
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69 CONTINUED: (3) 69 | |
CHRISTIAN | |
You're kidding. Oh, that's too bad. | |
You'll never survive Miranda. | |
ANDY | |
Excuse me? | |
CHRISTIAN | |
You're smart, you're nice, you have a | |
point of view. You can't do that job. | |
ANDY hands him her glass of punch. | |
ANDY | |
I have to go. | |
She starts to leave. | |
CHRISTIAN | |
Let me guess. You have a boyfriend | |
waiting. From... not high school... | |
college? Nice-looking guy, devoted, | |
about to ask you to move in with him, | |
but you're not sure... | |
She stares at him. Appalled. And, you know, intrigued. | |
ANDY | |
You. Are not a nice person. | |
CHRISTIAN | |
Nice to meet you, Miranda girl. | |
He walks away. Steam practically pours out of her ears. | |
ANDY | |
For your information, he's really | |
handsome. And we already live | |
together! | |
This doesn't cause him to turn around, though it does cause a | |
few other people to stare. ANDY walks away, embarrassed. | |
70 EXT. ANDY & NATE'S APARTMENT -- NIGHT 70 | |
ANDY'S walking back towards her and NATE'S apartment, holding | |
the folio. She crosses paths with NATE. | |
NATE | |
You got the nuclear briefcase from the | |
undisclosed location. I'm proud of | |
you. | |
(CONTINUED) | |
49. | |
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70 CONTINUED: 70 | |
ANDY | |
(surprised) | |
Where are you going? | |
NATE | |
Doug and some of his banker buddies | |
are playing Texas Hold `Em at his | |
apartment. Gonna go get me some of | |
that Wall Street cash. | |
ANDY | |
But I came back so we could hang out. | |
NATE | |
(lightly) | |
Man, I'm sorry. You didn't make that | |
crystal clear when you stormed off | |
after calling me an asshole. | |
ANDY | |
Okay, look, I'm sorry about that-- | |
He gives her a kiss. | |
NATE | |
I'll see you later, okay? | |
Just then NATE'S cell phone rings. NATE picks up. | |
NATE (CONT'D) | |
Hello? | |
(the way ANDY talks to | |
MIRANDA) | |
Sure, Doug! I'll get on it ASAP! A six- | |
pack? No problem. Budweiser or | |
Michelob? Chilled? Of course... | |
ANDY looks at him, hand on hip as he walks away. Very funny. | |
71 OMITTED 71 | |
72 INT. RUNWAY - MIRANDA'S OFFICE -- LATER -- DAY 72 | |
We see MIRANDA, studying the sketches JAMES sent over, spread | |
out in the folio. | |
MIRANDA | |
Emily! | |
ANDY walks into MIRANDA'S office. | |
(CONTINUED) | |
50. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
72 CONTINUED: 72 | |
MIRANDA (CONT'D) | |
Call James Holt's office. Tell them I | |
want to move the preview to today at | |
12:30. And tell everyone else. Be | |
ready to leave in half an hour. | |
73 & 74 OMITTED 73 & 74 | |
75 INT. RUNWAY - HALLWAY -- DAY 75 | |
NIGEL looks surprised. | |
NIGEL | |
They're not expecting us until | |
Tuesday. Did she say why? | |
ANDY | |
Yes, she explained every detail of her | |
decision-making, then we brushed each | |
other's hair and gabbed about American | |
Idol. | |
NIGEL | |
I see your point. | |
76 EXT. STREET -- DAY 76 | |
MIRANDA and ANDY ride along in heavy traffic. MIRANDA is | |
tapping her foot, impatient. | |
ANDY (O.S.) | |
What's a preview, anyway? | |
NIGEL (O.S.) | |
Miranda insists on seeing all the | |
designer's collections before they | |
show them. | |
ANDY (O.S.) | |
And she tells them what she thinks? | |
NIGEL (O.S.) | |
In her way. There's a scale. One nod, | |
good. More than one nod -- very good. | |
There is only one actual smile on | |
record -- Tom Ford, 2001. If she | |
doesn't like it, she shakes her head. | |
76A INT. TOWN CAR -- DAY 76A | |
Finally she leans forward to HENRY, the driver. | |
(CONTINUED) | |
51. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
76A CONTINUED: 76A | |
MIRANDA | |
Just let us out here. | |
She gets out. ANDY scrambles to grab her stuff and follow. | |
77 INT. RUNWAY - DAY 77 | |
NIGEL shakes his head. | |
NIGEL | |
And then there's the pursing of the | |
lips. | |
ANDY | |
What does that mean? | |
NIGEL | |
Catastrophe. | |
78 & 79 OMITTED 78 & 79 | |
80 INT. JAMES HOLT'S LOFT -- DAY 80 | |
MIRANDA walks in the elevator. ANDY hesitates, unsure if | |
she's permitted to be in the elevator with her. Okay, fine. | |
81 INT. JAMES HOLT'S ELEVATOR -- DAY 81 | |
Beat. MIRANDA and ANDY ride up together. | |
ANDY | |
Last time I was here, James was having | |
this cool party and-- | |
(off MIRANDA's look) | |
--and this is why you don't like | |
people riding up in the elevator with | |
you. | |
MIRANDA smiles a tight little smile. Precisely. | |
82 EXT. JAMES HOLT'S LOFT -- DAY 82 | |
Another town car pulls up and NIGEL, LUCIA, JOCELYN and some | |
of the other Runway editors and assistants pile out. | |
83 INT. JAMES HOLT'S LOFT -- DAY 83 | |
MIRANDA walks in. JAMES is standing there with his staff and | |
his Public Relations team. JAMES is clearly buzzing. | |
JAMES | |
Miranda. Great to see you. | |
(CONTINUED) | |
52. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
83 CONTINUED: 83 | |
MIRANDA diligently kisses both of his cheeks. | |
JAMES (CONT'D) | |
You got the sketches for your dress. | |
MIRANDA | |
Yes. I did. | |
Beat. And she conspicuously does not say she liked them. | |
MIRANDA (CONT'D) | |
Thank you. | |
And her tone is very remote. And now we can see JAMES really | |
start to quake. | |
MIRANDA arranges herself on the Mies daybed, legs folded, | |
ramrod straight. The other RUNWAY editors -- NIGEL, JOCELYN | |
and LUCIA and their assistants, stand behind MIRANDA. | |
JAMES and his people stand off to the side as a few fit | |
MODELS begin walking out in various outfits. | |
JAMES | |
This season I started to think about | |
the intersection of East and West... | |
No one in the room watches anything except -- MIRANDA'S | |
reaction. | |
As JAMES speaks, we dissolve from outfit to outfit. JAMES is | |
trying desperately to impress MIRANDA. He's practically tap- | |
dancing. | |
JAMES (CONT'D) | |
I didn't want to do, say, a blonde in | |
a kimono. It's more about capturing | |
the Eastern sensibility in the Western | |
woman. Kind of Uma Thurman in Kill | |
Bill in a kick ass dress with an obi | |
belt. The modern woman as Geisha meets | |
rock star, with a little Desperate | |
Housewives thrown in. | |
Suddenly, there's a glimpse of movement from Miranda -- could | |
it be a nod? Everyone holds their breath. | |
No, she's just straightening her glasses. | |
JAMES (CONT'D) | |
And this, of course, is the dress | |
we're making for you. | |
(CONTINUED) | |
53. | |
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83 CONTINUED: (2) 83 | |
An overly busy red dress with too many fashion ideas being | |
attempted at one time. | |
JAMES (CONT'D) | |
A lush Asian fabric, tailored, but | |
with a bit of movement to work against | |
the modernism. | |
And suddenly, there it is, the kiss of death. The dreaded | |
pursing of the lips. | |
84 EXT. STREET -- DAY 84 | |
The Runway team files out, MIRANDA first. ANDY and NIGEL walk | |
together. | |
ANDY | |
(sotto voce) | |
She pursed her lips and because of | |
that he's going to change his entire | |
collection? | |
NIGEL | |
You still don't get it, do you? Her | |
opinion is the only one that matters. | |
MIRANDA, about to get into the town car, turns to ANDY. | |
MIRANDA | |
Make sure you confirm my dinner with-- | |
ANDY | |
--Galliano at Pastis. Done. | |
MIRANDA | |
And I need to see the look book for | |
the November denim shoot. | |
ANDY | |
It's in the car. | |
MIRANDA | |
Fine. | |
MIRANDA turns to leave, pauses. | |
MIRANDA (CONT'D) | |
Oh, and you'll be bringing The Book to | |
my home tonight. Emily will give you | |
the key, Andrea. | |
54. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
85 OMITTED 85 | |
86 INT. RUNWAY -- DAY 86 | |
CLOSE ON | |
A key, as EMILY hands it to ANDY. | |
EMILY | |
Guard this with your life. | |
ANDY | |
Of course. If I can deliver the Book, | |
that means I must have done something | |
right, that she doesn't think I'm | |
psycho. Oh, and she actually called me | |
Andrea instead of Emily. Isn't that | |
great? | |
EMILY | |
(deadpan) | |
Yeah. Whoopee. Okay, now, it's very | |
important that you do EXACTLY what I'm | |
about to tell you. | |
87 INT. RUNWAY - BULLPEN -- NIGHT 87 | |
We hear EMILY'S voiceover as we see this happening. | |
EMILY (V.O.) | |
The Book is assembled by 10 or 10:30, | |
so you must wait around until then. | |
We see ANDY, waiting. The area around MIRANDA'S office is | |
totally quiet. | |
88 INT. RUNWAY - MIRANDA'S OFFICE -- NIGHT 88 | |
ANDY drifts in and looks at MIRANDA'S office -- the pictures | |
of her with everyone from Desmond Tutu to Paris Hilton. | |
Then ANDY walks over to MIRANDA'S pristine white couch. Sits | |
on it. Hell, why not. Lies down on it. Gingerly. Then-- | |
INTERCOM | |
(loud) | |
Book's ready! | |
And ANDY startles and falls completely off the couch. | |
54A. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
89 INT. RUNWAY - MIRANDA'S OFFICE -- NIGHT 89 | |
An editorial ASSISTANT brings ANDY The Book. It's heavy. | |
EMILY (V.O.) | |
You'll be delivering Miranda's dry | |
cleaning with the book. | |
We see ANDY removing the dry cleaning from the closet -- | |
about a dozen garments on hangers. | |
55. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
90 EXT. STREET/INT. TOWN CAR -- NIGHT 90 | |
ANDY whisks across town. It's late, the streets are quiet. | |
EMILY (V.O.) | |
The driver will take you to Miranda's | |
townhouse. | |
90A EXT. STREET -- NIGHT 90A | |
ANDY unloads the car and walks up the flight of stairs in | |
front of the townhouse, carrying the book and dry cleaning. | |
She takes out a key. | |
EMILY (V.O.) | |
Let yourself in. | |
ANDY takes a deep breath and turns the lock. | |
91 INT. FOYER -- NIGHT 91 | |
ANDY steps into a marble-floored foyer with a large staircase | |
looming right in front of her. | |
92 OMITTED 92 | |
93 INT. RUNWAY - BULLPEN -- DAY 93 | |
On EMILY, intense. | |
EMILY | |
Do not talk to anyone. Do not look at | |
anyone. That is of the utmost | |
importance. You must be invisible. Do | |
you understand? | |
94 OMITTED 94 | |
95 INT. MIRANDA'S FOYER -- NIGHT 95 | |
ANDY steps inside, her footsteps echoing through the foyer. | |
EMILY (V.O.) | |
Open the door, walk across the foyer, | |
then hang the dry cleaning in the | |
closet across from the staircase. | |
ANDY looks. There are two identical doors on each side of the | |
staircase. Dammit. | |
(CONTINUED) | |
56. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
95 CONTINUED: 95 | |
EMILY (V.O.) (CONT'D) | |
And leave the Book on the table with | |
the flowers. | |
ANDY looks. There are one, two, three tables... all in | |
different areas of the house. She looks very confused. | |
ANDY | |
Shit. | |
Suddenly she hears a noise. She looks up and sees two girls | |
of about 12, CASSIDY and CAROLINE, peering down the | |
staircase. | |
CASSIDY | |
It's that door. On the left. | |
ANDY hangs the dry cleaning. The girls call down. | |
CAROLINE | |
You can give us the Book. | |
CASSIDY | |
We'll give it to her. | |
ANDY shakes her head. No no no. | |
CAROLINE | |
It's okay. Come on up. | |
ANDY | |
But I can't... Shh... | |
CASSIDY | |
It's okay. | |
And ANDY, unsure what to do, starts to walk up the stairs. | |
She gets about halfway up when she hears voices... | |
MIRANDA and her husband, STEPHEN are in the dining room, a | |
sliver of which is visible from the foyer. | |
MIRANDA | |
What did you want me to do? Walk out | |
in the middle of a photo shoot? | |
ANDY freezes. | |
(CONTINUED) | |
57. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
95 CONTINUED: (2) 95 | |
STEPHEN | |
I rushed out of an investment | |
committee meeting early, then I sat | |
there waiting for you for almost an | |
hour... | |
MIRANDA | |
We were in a loft near the Seaport. My | |
phone didn't work. I told you. | |
STEPHEN | |
...and I knew what everyone in the | |
restaurant was thinking. There he is, | |
waiting for HER again-- | |
And as he says this he stops, curious. There on the stairs, | |
head peeking into the second floor, is ANDY, frozen. | |
With the TWINS smiling at her. | |
And before ANDY can stop herself, her eyes float over to | |
STEPHEN'S. Eye contact. Her heart does a flip. And her eyes | |
dart over to MIRANDA and they make eye contact as well... | |
... and MIRANDA gives ANDY a look of utter coldness, disgust | |
and judgement. ANDY freezes. | |
96 EXT. STREET -- NIGHT 96 | |
ANDY closes the door to the townhouse, heart pounding. | |
97 INT. ANDY & NATE'S APARTMENT -- NIGHT 97 | |
ANDY crawls into bed next to NATE, heart racing, and looks up | |
at the ceiling, freaking out. | |
98 INT. RUNWAY - BULLPEN -- DAY 98 | |
ANDY walks in, already bracing herself, and runs into EMILY, | |
emerging from MIRANDA'S office, very upset. | |
ANDY | |
Okay, before you start freaking out, | |
it wasn't such a big deal. The twins | |
said hello, I said hello back, then I | |
went upstairs and gave the book to | |
Miranda-- | |
EMILY | |
You went upstairs? Oh my God. Why | |
didn't you just climb into bed with | |
her and ask for a bedtime story? | |
(CONTINUED) | |
58. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
98 CONTINUED: 98 | |
ANDY | |
You're right. I made a mistake. | |
EMILY | |
Don't you understand? If you get | |
fired, that might jeopardize Paris for | |
me. And if that happens, I will search | |
every Blimpie's in the tri-state area | |
until I find you and kill you. | |
ANDY | |
Wait a second. She's going to fire me? | |
EMILY | |
I don't know. She's not happy. | |
And they hear MIRANDA'S voice, ringing out from the office. | |
MIRANDA | |
An-dre-a. | |
ANDY and EMILY exchange a look. Oh, boy. | |
99 INT. RUNWAY - MIRANDA'S OFFICE -- DAY 99 | |
ANDY walks in, apprehensive. | |
ANDY | |
Miranda, about last night, I-- | |
MIRANDA | |
I need the new Harry Potter book for | |
the twins. | |
ANDY | |
Of course. I'll run down to Barnes & | |
Noble right now. | |
MIRANDA | |
Did you fall down and smack your | |
little head on the pavement? | |
ANDY | |
Not that I can recall. | |
MIRANDA | |
We have all the published Harry Potter | |
books. The girls want to know what | |
happens next. | |
ANDY stands there a moment, fully aware of the impossibility | |
of what MIRANDA just asks. | |
(CONTINUED) | |
59. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
99 CONTINUED: 99 | |
ANDY | |
So you want the... unpublished | |
manuscript. | |
MIRANDA gives her a look. Is there a problem? | |
MIRANDA | |
We know everyone in publishing. | |
Shouldn't be a problem. | |
(beat) | |
You can do anything, right? | |
100 INT. RUNWAY - BULLPEN -- LATER 100 | |
ANDY paces, panicky. EMILY watches her. | |
ANDY | |
She doesn't get it. There's no way I | |
can get that book. I don't care who I | |
call. | |
Just then MIRANDA walks out. ANDY springs up to get her coat. | |
MIRANDA | |
My girls are leaving on the train to | |
their Grandmother's at 3. They'll need | |
the book by then. | |
ANDY | |
Of course. | |
MIRANDA | |
I'd like my steak in fifteen minutes. | |
ANDY | |
No problem. | |
MIRANDA exits. | |
ANDY (CONT'D) | |
Great. I have to get the impossible | |
manuscript in four hours. And Smith | |
and Wollensky's doesn't open until | |
11:30. How am I supposed to get the | |
steak? | |
(paces) | |
She's going to fire me, isn't she? | |
She's just prolonging the kill. Like | |
an evil cat with a tiny unfashionable | |
mouse. | |
(CONTINUED) | |
60. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
100 CONTINUED: 100 | |
EMILY | |
Oh look, you're getting paranoid. Yay. | |
It's not just me. Listen, don't freak | |
out. There could be a silver lining | |
here. | |
ANDY looks at her. Really? | |
EMILY (CONT'D) | |
When Miranda gives someone an | |
impossible task, it generally means | |
one of two things. One, she thinks you | |
can actually pull it off. | |
ANDY | |
Or-- | |
EMILY | |
Or, you know, that thing you were | |
saying about the cat. | |
101 EXT. STREET - DAY 101 | |
We see ANDY racing down the street. | |
102 EXT. SMITH AND WOLLENSKY'S -- DAY 102 | |
ANDY flies into frame on the phone... | |
ANDY | |
It's for Miranda Priestly... it's very | |
important. Yes, I know, it's | |
impossible to get... | |
...she raps on the door of the closed restaurant. The MANAGER | |
recognizes her, lets her in. | |
103 INT. SMITH AND WOLLENSKY'S -- DAY 103 | |
From the bar, ANDY watches the steak sizzle, pacing | |
nervously. ANDY'S cell phone rings. She grabs it. | |
ANDY | |
Anything? Can you try again? I would | |
really appreciate any leads at all... | |
thanks. No pressure. If I don't have | |
it by 3, I'm fired. | |
MARTY | |
What an amazing job, working for | |
someone like Ms. Priestly. | |
(CONTINUED) | |
61. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
103 CONTINUED: 103 | |
ANDY | |
Yeah. It's a real party. | |
ANDY walks towards the door. And suddenly something catches | |
ANDY'S eye... | |
We see what ANDY'S looking at -- an ad on the side of the bus | |
stop advertising the latest issue of the New Yorker. ANDY | |
sees a familiar name: CHRISTIAN THOMPSON. | |
104 INT. TAXI -- DAY 104 | |
CHRISTIAN answers his cell phone. | |
ANDY (O.S.) | |
You probably don't remember me. We met | |
at James Holt's party and I work for | |
Miranda Priestly and-- | |
CHRISTIAN | |
Of course I remember you, Miranda | |
Girl. You shaken off the college | |
boyfriend yet? | |
104pt EXT. STREET -- DAY 104pt | |
ANDY on the cell phone. | |
ANDY | |
Listen. I desperately need a favor. | |
And I don't know many people in the | |
book world... | |
On CHRISTIAN, getting out of a taxi. | |
CHRISTIAN | |
The Harry Potter manuscript? You've | |
gotta be kidding. | |
ANDY (O.S.) | |
I'm sorry to ask you. I'm desperate. | |
CHRISTIAN | |
Just tell her it can't be done. You'll | |
have to come up with a plan B. | |
On ANDY. | |
ANDY | |
We're talking about Miranda Priestly. | |
There is no plan B, only plan A. | |
62. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
105 INT. RUNWAY - HALLWAY -- DAY 105 | |
ANDY runs down the hall with MIRANDA'S food, passing EMILY. | |
ANDY | |
Is she back? Am I fired? | |
EMILY | |
You know, I rarely say this to people | |
who aren't me, but you need to calm | |
down. | |
ANDY ignores her, racing around getting the dishes and | |
silverware for MIRANDA'S steak. | |
106 INT. RUNWAY - MIRANDA'S OFFICE -- DAY 106 | |
We see the steak, prettily arranged on MIRANDA'S china. ANDY | |
sets up the salt and pepper. MIRANDA walks in. When MIRANDA | |
sees the steak, she freezes. | |
MIRANDA | |
What is that doing here? I ordered it | |
ages ago. | |
ANDY looks confused. Ages? | |
MIRANDA (CONT'D) | |
Luckily, before I starved to death, | |
Irv invited me to lunch. | |
(re: steak) | |
Get rid of that. I'll be back at 3. | |
Please have my Starbucks order | |
waiting. | |
And before she exits... | |
MIRANDA (CONT'D) | |
And if you don't have the Harry Potter | |
book by then, don't come back. | |
107 INT. RUNWAY - KITCHEN -- DAY 107 | |
ANDY carries a tray with all the food on it into the kitchen. | |
A beat. She looks down at the tray. And suppresses an urge to | |
throw the whole thing at the wall. | |
She positions the tray over the garbage and tilts it, letting | |
everything -- steak, china, silverware -- fall into the can. | |
63. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
108 INT. STARBUCKS -- DAY 108 | |
ANDY is getting MIRANDA'S coffee. | |
ANDY | |
(on the cell phone) | |
Harry Potter. | |
(jump cut) | |
The manuscript. | |
(jump cut) | |
It's for Miranda Priestly. | |
(jump cut to) | |
I need it today. | |
(to the BARRISTA) | |
Can you make it extra hot? Like, | |
center of the sun hot? | |
The BARRISTA gives her a look. | |
ANDY (CONT'D) | |
Sorry, my boss is particular. | |
(into phone) | |
Are you sure? You're my last shot. | |
(sighs) | |
All right, well, thanks for trying. | |
She hangs up. The BARRISTA hands her the coffee. | |
BARRISTA | |
Sounds like a great job. | |
ANDY | |
Actually, it is. A million girls would | |
kill for it. | |
And she starts to laugh. The girl stares at her. | |
109 EXT. STARBUCKS -- DAY 109 | |
ANDY walks out of the Starbucks with the order on a tray. | |
ANDY stands there a moment. People bustle around her, as she | |
finds herself at a literal crossroads. | |
She looks up at the building. Suddenly she stops a PASSERBY | |
who looks at her, curious. Yeah, lady? | |
ANDY | |
Want a mocha? | |
And ANDY starts passing Starbucks to people on the street. | |
64. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
110 INT. NATE'S RESTAURANT - KITCHEN -- DAY 110 | |
NATE on the phone. Intercut with him and ANDY on the street. | |
NATE | |
Quit? Are you sure? | |
ANDY | |
I failed. She's going to fire me | |
anyway. Might as well beat her to the | |
punch. | |
NATE | |
Wow. Good for you. Congratulations, | |
Andy. You're free. | |
ANDY | |
Call you later. | |
ANDY hangs up, and immediately her phone rings again. She | |
looks down. Assuming it's NATE. | |
ANDY (CONT'D) | |
Hello? | |
CHRISTIAN (O.S.) | |
I'm brilliant. Really. Monuments | |
should be erected in my honor. | |
WE INTERCUT | |
110pt EXT. STREET -- DAY 110pt | |
Between ANDY and CHRISTIAN, also walking down the street. | |
ANDY | |
You didn't. | |
CHRISTIAN | |
Oh yes. A friend of a friend does the | |
cover art. She has the manuscript. | |
ANDY | |
No. That would mean I actually... did | |
something right. | |
(stunned) | |
But see... thing is... See, I was | |
about to... | |
And we see ANDY. She looks up at the Elias-Clarke building, | |
teetering on a precipice. | |
(CONTINUED) | |
65. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
110pt CONTINUED: 110pt | |
CHRISTIAN | |
You want this, you better hurry. Meet | |
me at the St. Regis. | |
110pu EXT. STREET -- DAY 110pu | |
Establishing St. Regis. | |
ANDY runs down the street to the St. Regis. | |
ST. REGIS BUTLER | |
Welcome to the St. Regis. Is there | |
anything I can assist you with? | |
ANDY | |
Yes, I'm meeting someone... | |
The butler opens the door for Andy. | |
ST. REGIS BUTLER | |
Right this way. | |
He escorts her into the St. Regis. | |
111 INT. KING COLE BAR -- DAY 111 | |
CHRISTIAN is having drinks. ANDY runs in. He hands her a | |
manuscript. | |
CHRISTIAN | |
You have one hour. | |
111A INT. STAPLES -- DAY 111A | |
ANDY is xeroxing the manuscript and talking on the phone. | |
ANDY | |
I'm begging you. You have to stall | |
her. Just ten minutes. | |
111B EXT. STREET/INT. TOWN CAR -- DAY 111B | |
We see HENRY, driving MIRANDA. He hangs up the cell phone. | |
Then he turns down a side street. | |
MIRANDA catches his eye in the mirror. What the hell? | |
HENRY | |
Too much traffic on 5th. UN's in | |
session. | |
MIRANDA makes an annoyed face. | |
(CONTINUED) | |
65A. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
111B CONTINUED: 111B | |
112-114 OMITTED 112-114 | |
115 INT. RUNWAY - HALLWAY 115 | |
The tray with Miranda's Starbucks on it... We follow it down | |
the hall and see it being set on MIRANDA'S desk. | |
And beside it lands boom! an envelope. Widen out to see-- | |
115A INT. RUNWAY - MIRANDA'S OFFICE -- DAY. 115A | |
MIRANDA, looking at the envelope. | |
And then we see ANDY. She stands there, quiet, calm. | |
And if MIRANDA is amazed by what ANDY did, she doesn't show | |
it. She opens the envelope, looks in. | |
MIRANDA | |
One copy? What are my twins supposed | |
to do with that... share? | |
ANDY | |
Actually I made two copies. And had | |
them color-copied, re-set and bound so | |
they wouldn't look like manuscripts. | |
She smiles. MIRANDA nods, but still won't concede the point. | |
MIRANDA | |
And where exactly are those fabulous | |
copies? I don't see them anywhere. | |
116 INT. TRAIN -- DAY 116 | |
The MetroNorth from New York City to Bedford. | |
In the front row, we see two girls in matching outfits with | |
two matching Harry Potter manuscripts. The twins, with their | |
NANNY beside them. | |
66. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
117 INT. RUNWAY - MIRANDA'S OFFICE -- DAY 117 | |
ANDY smiles at MIRANDA. Her faith in herself restored. | |
ANDY | |
(brightly) | |
Anything else I can do for you? | |
118 EXT. ELIAS-CLARKE -- DAY 118 | |
ANDY walks out. The CLACKERS stream in and out of the | |
building. And ANDY raises her arms and does a victory dance, | |
now graceful in her stilettos. | |
People stare. Doesn't bother her. | |
119 INT. ANDY & NATE'S APARTMENT -- NIGHT 119 | |
ANDY is making a small diorama of the planetary system. NATE | |
walks in. He's carrying a bag of groceries. | |
NATE | |
I went over to Dean & DeLuca -- man, | |
they charge like five bucks a | |
strawberry, but I figured, you quit, | |
we should celebrate. | |
ANDY | |
Listen, Nate-- | |
And he sees what she's doing. Realizes. | |
NATE | |
So you quit, but you're still doing | |
the twins' science project. Big of | |
you. | |
ANDY | |
After I called you, I realized... It | |
doesn't make sense to throw away all | |
these months of hard work. I just had | |
a moment of weakness. That's all. | |
NATE | |
Either that or your job sucks and your | |
boss is a wacko. | |
She looks at him. | |
NATE (CONT'D) | |
Okay. Whatever. It's your job. | |
(CONTINUED) | |
67. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
119 CONTINUED: 119 | |
ANDY | |
That's all it is, Nate. Just a job. | |
NATE | |
No, no. It's an important magazine. | |
That's what you said, right? | |
He sees the latest issue of Runway. Picks it up. | |
NATE (CONT'D) | |
Let's see... How to buy a custom-made | |
600 dollar bra. That's important. A | |
list of the 10 best wrinkle creams | |
under $500. That's important. | |
ANDY | |
I get the point, Nate. | |
He continues leafing through. | |
NATE | |
The new Botox. The new pea coat. The | |
new | |
(wrestling with the word) | |
Gstaad. What the hell is-- | |
ANDY | |
Gstaad. It's a ski resort. In | |
Switzerland. | |
NATE | |
See? I now live with someone who knows | |
that. Thank you, Miranda Priestly. | |
ANDY | |
Nate, it's not like I run the | |
magazine. I just work there, remember? | |
NATE doesn't say anything, keeps putting away groceries. She | |
walks over to him. | |
ANDY (CONT'D) | |
I'm the same person I was. I still | |
want the same things. | |
But he doesn't look too convinced. | |
ANDY (CONT'D) | |
I promise. Same Andy, better clothes. | |
(CONTINUED) | |
68. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
119 CONTINUED: (2) 119 | |
NATE | |
That's the thing -- I liked your old | |
clothes. | |
ANDY | |
(re: her shoes) | |
What about these? These are pretty | |
nice. | |
He doesn't take the bait. | |
ANDY (CONT'D) | |
And this skirt? | |
(nothing) | |
Okay. What about this? | |
She unbuttons her shirt, revealing a bra that costs more than | |
every item of clothing NATE owns combined. Beat. | |
NATE | |
I like that. | |
He grabs her and kisses her. | |
119A INT. CONFERENCE ROOM -- DAY 119A | |
The senior staff members are gathered around a table -- | |
NIGEL, JOCELYN, LUCIA, a few others including PAUL, the art | |
director of the magazine. | |
NIGEL | |
...Posen's doing some very sculptural | |
suits, so Testino wants to shoot them | |
at the Noguchi Garden in the Chase | |
building. | |
MIRANDA | |
Perfect. What about the accessories | |
pages for April? | |
JOCELYN | |
One thought was enamel -- bangles, | |
pendants, earrings-- | |
MIRANDA | |
We did that two years ago. What else? | |
JOCELYN | |
Well, they're showing a lot of florals | |
for spring and so-- | |
(CONTINUED) | |
68A. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
119A CONTINUED: 119A | |
MIRANDA | |
Florals. For spring. Groundbreaking. | |
PAUL | |
But we thought about shooting them in | |
an industrial space. | |
She looks at him. Death ray. He soldiers on. | |
PAUL (CONT'D) | |
We thought the contrast between the | |
femininity of the florals-- | |
And she's still just staring. He continues falling forward. | |
PAUL (CONT'D) | |
--and the um, the more raw, rough-hewn | |
nature of the backdrop would create a | |
tension which-- | |
MIRANDA | |
No. | |
PAUL | |
--which-- | |
MIRANDA | |
No. | |
Just then EMILY walks in with a note for MIRANDA. | |
(CONTINUED) | |
69. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
119A CONTINUED: (2) 119A | |
Before she can get all the way across the room, EMILY | |
dissolves into hacking coughs. MIRANDA gives her a look, then | |
turns back to her staff. | |
MIRANDA (CONT'D) | |
Anyone have anything I can actually | |
use? | |
120 INT. RUNWAY - BULLPEN -- DAY 120 | |
ANDY is at her desk. EMILY walks back, blowing her nose, | |
rubbing her eyes -- basically, a Nyquil ad. | |
ANDY | |
Are you okay? | |
EMILY | |
Tonight's the benefit. I've been | |
looking forward to it for MONTHS. I | |
refuse to be sick. I'm wearing | |
Valentino. | |
(blows her nose) | |
Everyone's going to be leaving to get | |
dressed soon, so after you drop off | |
Miranda's Fendi bag at the re-beaders, | |
you can just go home. | |
ANDY | |
Great. Thanks. That's perfect, because | |
I need to get to Magnolia Bakery | |
before they close... | |
ANDY grabs her purse and, from under her desk, she retrieves | |
a wrapped present. | |
ANDY (CONT'D) | |
...it's Nate's birthday and we're | |
having a little party for him-- | |
EMILY looks at her. Too sick and too Emily to care. | |
ANDY (CONT'D) | |
Anyway, have fun tonight. | |
120A INT. LOBBY -- DAY 120A | |
ANDY, feeling liberated, walks out, carrying the present and | |
a shopping bag with MIRANDA'S bag in it. And that's when her | |
cell rings. | |
69A. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
121 INT. RUNWAY - MIRANDA'S OFFICE -- DAY 121 | |
ANDY and EMILY walk in together, looking confused. | |
(CONTINUED) | |
70. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
121 CONTINUED: 121 | |
MIRANDA | |
I want to make sure before the benefit | |
that you are both fully prepped on the | |
guest list. | |
ANDY and EMILY exchange a look. | |
ANDY | |
Um... I thought only the first | |
assistant went to the benefit. | |
MIRANDA | |
Only when the first assistant hasn't | |
decided to be disgustingly ill. You'll | |
come and help Emily. | |
On EMILY and ANDY'S surprised faces. | |
122 INT. RUNWAY - BULLPEN -- DAY 122 | |
They walk out. EMILY is clearly peeved. | |
EMILY | |
I don't see why she needs both of us. | |
Eight second coughing fit. | |
ANDY | |
Don't look at me. This is the last | |
thing I want to do. | |
EMILY dumps something on ANDY'S lap -- a book of what looks | |
like mug shots. | |
EMILY | |
These are all the guests. Miranda | |
invites everyone. We have to make sure | |
they all think she knows exactly who | |
they are. I've been studying for | |
weeks. | |
ANDY | |
I need to learn all these people by | |
tonight? | |
EMILY | |
Don't be silly. | |
She pulls out another big book of headshots. | |
EMILY (CONT'D) | |
You have to learn these too. | |
71. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
123 INT. CLOSET -- DAY 123 | |
NIGEL is looking for a gown for ANDY. ANDY is on the cell | |
phone. | |
ANDY | |
Lily, just start without me. I'll be | |
there as soon as I can. | |
123A INT. GALLERY -- DAY 123A | |
We see LILY at the gallery where she works. | |
LILY | |
Okay, but hurry. | |
123B INT. CLOSET -- DAY 123B | |
ANDY on the phone. | |
ANDY | |
I will. I promise. Believe me, this is | |
the last thing I want to-- | |
Just then NIGEL holds up a dress. | |
ANDY (CONT'D) | |
Oh, I love that. | |
(back to LILY) | |
I'll call you the second I'm leaving. | |
She hangs up. | |
ANDY (CONT'D) | |
Will that fit me? | |
NIGEL | |
Of course. A few extra yards of fabric | |
and a staple gun and we're in | |
business. | |
124 INT. RUNWAY - STUDIO -- LATER 124 | |
We see ANDY from behind as the MAKEUP ARTIST applies the | |
finishing touches. | |
He studies her. | |
NIGEL | |
Remember, there are two keys to | |
wearing an evening gown -- one is to | |
maintain a regal bearing. The second-- | |
(CONTINUED) | |
71A. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
124 CONTINUED: 124 | |
He mimes adjusting one's boobs in a strapless dress. | |
NIGEL (CONT'D) | |
Make sure the girls face forward. | |
The makeup artist steps away and NIGEL and ANDY both study | |
her in the mirror. | |
NIGEL (CONT'D) | |
Not bad. How do you feel? | |
125 EXT. STREET/INT. TOWN CAR -- NIGHT 125 | |
We see a limousine gliding through the streets... | |
ANDY (V.O.) | |
Let's see. My feet are killing me, | |
everything pinches... | |
126 EXT. NEW YORK PUBLIC LIBRARY -- NIGHT 126 | |
All lit for a gala charity benefit. A red carpet lined with | |
notables leads up the steps. | |
ANDY (V.O.) | |
...my breasts are squeezed into a ball | |
and this hairpiece is like having a | |
boulder pinned to my head... | |
And suddenly the door to the town car opens and ANDY steps | |
out onto the red carpet. | |
And she looks unbelievable, gorgeous, perfect. | |
ANDY (V.O.) (CONT'D) | |
Never felt better. | |
ANDY walks up the red carpet where she catches sight of | |
NIGEL, talking to reporters on the red carpet. | |
NIGEL | |
...this benefit is the social event of | |
the season. It represents what Runway | |
is about -- grace, style, elegance... | |
As he says "elegance", he catches sight of ANDY, smiles and | |
does a smaller version of the "adjusting the girls" gesture. | |
ANDY smiles at him and walks on. | |
(CONTINUED) | |
72. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
126 CONTINUED: 126 | |
Just then EMILY spots ANDY. | |
EMILY | |
Oh my God, Andy. You look... chic. | |
But ANDY is busy staring at EMILY, in her strapless dress. | |
ANDY | |
And you look... so thin. | |
EMILY | |
(flattered) | |
Do I? It's for Paris. I'm on a new | |
diet. I don't eat anything, and then, | |
when I feel like I'm about to faint, I | |
eat a cube of cheese. | |
ANDY | |
It's definitely working. | |
EMILY | |
I know. I'm just one stomach flu away | |
from my goal weight. | |
ANDY | |
That's... great. | |
EMILY smiles proudly, then dissolves into another round of | |
bone-rattling coughs. | |
EMILY | |
Ready? | |
127 INT. LIBRARY -- NIGHT 127 | |
ANDY and EMILY enter. It's beautiful. Everything in sight is | |
white -- white tulips, bone white china, white candles. | |
All the GUESTS are in black or white. EMILY looks around. | |
(CONTINUED) | |
73. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
127 CONTINUED: 127 | |
EMILY | |
We need to make sure we're there the | |
second she walks in. | |
ANDY | |
I was wondering how long you think | |
we'll have to stay because I was | |
hoping to-- | |
EMILY | |
There she is. | |
Just then MIRANDA walks in. She's wearing the awkward dress | |
from JAMES'S sketches, made over to perfection. | |
EMILY and ANDY rush over to MIRANDA. | |
QUICK CUTS at the ball. | |
ANDY and EMILY stand at MIRANDA's side as she fields | |
greetings. | |
EMILY whispers to MIRANDA. | |
EMILY (CONT'D) | |
John Folger. New artistic director, | |
Circle in the Square. | |
MIRANDA | |
John. Good to see you. | |
She greets him. Just then we see a distinguished man in an | |
impeccable European suit. MASSIMO. | |
ANDY | |
That's Massimo Cortileono, chairman of- | |
EMILY | |
(shushes ANDY) | |
She knows him. | |
MIRANDA | |
Massimo, you made it. I was worried | |
you'd be too busy with your new | |
factory in Ortezzano-- | |
MASSIMO | |
I would never miss a chance to see | |
you, Miranda, darling. | |
(CONTINUED) | |
73A. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
127 CONTINUED: (2) 127 | |
A DISTINGUISHED COUPLE approaches. Walks towards MIRANDA, | |
ANDY and EMILY. MIRANDA holds her smile, waiting for | |
information. | |
MIRANDA | |
(smiling) | |
Emily? | |
EMILY racks her brain. Which goes blank. She starts to panic. | |
EMILY | |
(fumbling) | |
That's... Wait... I know who that | |
is... It's... | |
Seeing EMILY struggle, ANDY leans in to MIRANDA. | |
ANDY | |
Ambassador Franklin. And that's the | |
woman he left his wife for, Rebecca. | |
The woman he's leaving HER for is the | |
man walking down the stairs in | |
Valentino. | |
MIRANDA greets the couple. | |
MIRANDA | |
Ambassador, Rebecca. | |
EMILY whispers to ANDY. | |
EMILY | |
Thanks. | |
Just then ANDY sees a very fashionable WOMAN, with a more | |
avant-garde look than MIRANDA, headed for them. | |
And she's being escorted by none other than... IRV. | |
EMILY whispers to ANDY. | |
(CONTINUED) | |
74. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
127 CONTINUED: (3) 127 | |
ANDY | |
(trying to remember what | |
she studied) | |
That's... Jacqueline Follet, right? | |
From French Runway. | |
EMILY | |
Yes. Oh my God. Miranda hates her. She | |
was supposed to arrive after Miranda | |
left... | |
As she says this we see MIRANDA greeting JACQUELINE "warmly". | |
MIRANDA | |
Ah, Bonsoir, Cherie. Ta robe est | |
rudement chouette. | |
JACQUELINE | |
I like your dress too. Very... | |
Americaine. Sportif. | |
MIRANDA | |
Thank you for coming to our little get | |
together tonight. | |
JACQUELINE | |
Of course. I plan my whole year around | |
it. | |
MIRANDA | |
And we're all so grateful. | |
JACQUELINE | |
After all, we're family, no? | |
She smiles at IRV, who smiles right back. MIRANDA smiles too, | |
but looks like she'd rather throw darts at JACQUELINE. | |
ANDY quickly steps forward. | |
ANDY | |
Alors, Jacqueline, ditez-moi, avez- | |
vous rencontr Brad Pitt? | |
JACQUELINE | |
Ah, no... Pas encore... | |
And ANDY pulls JACQUELINE across the room. | |
LATER, the party is in full swing. EMILY and ANDY are with | |
MIRANDA, who is talking to a group of luminaries including | |
IRV. | |
(CONTINUED) | |
74A. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
127 CONTINUED: (4) 127 | |
EMILY turns to ANDY and whispers. | |
EMILY | |
You can go. I've got it from here. | |
ANDY | |
Are you sure? | |
EMILY | |
Go. Have fun. | |
And for the first time they seem like friends. | |
(CONTINUED) | |
75. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
127 CONTINUED: (5) 127 | |
ANDY | |
(amazed) | |
Thank you. Thank you so much. | |
But just as ANDY'S about to leave, STEPHEN appears, quite | |
drunk, and joins MIRANDA'S group. | |
MIRANDA | |
Darling, there you are. | |
STEPHEN | |
It's a banner evening. Three people | |
have failed to recognize me, one | |
person called me Mr. Priestly, and now | |
the damned bartender refuses to serve | |
me. | |
Everyone looks uncomfortable. STEPHEN turns to IRV. | |
STEPHEN (CONT'D) | |
Why don't you get me a drink? He's | |
gotta listen to you, right, little | |
guy? | |
Everyone freezes. | |
MIRANDA forces a laugh. An awful beat. And ANDY leaps in, | |
quickly turns to IRV, distracting him. | |
ANDY | |
I'm sorry to bother you, but I've been | |
dying to ask you... Is it true that | |
John Cheever used to ghostwrite the | |
editor's page of Manhattan Magazine in | |
the 50's?... | |
And while she chats with him, MIRANDA puts her arm around her | |
husband and leads him gently away. | |
MIRANDA | |
Come on, darling, let's get something | |
to eat. I'm starved, aren't you? | |
And as she walks away, MIRANDA turns. And MIRANDA mouths the | |
words "Thank You" to ANDY. ANDY'S eyes go wide in disbelief. | |
Then she smiles. Yes! | |
128 EXT. NEW YORK PUBLIC LIBRARY -- NIGHT 128 | |
ANDY trots down the steps, starting to take down her hair as | |
she races to the car. | |
(CONTINUED) | |
75A. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
128 CONTINUED: 128 | |
Suddenly she looks up. And sees CHRISTIAN, walking up the | |
steps, looking better than anyone ever should in a tuxedo. He | |
smiles and clutches his heart like he's been shot by cupid. | |
CHRISTIAN | |
Look at you... you're a vision. Thank | |
God I saved your job. | |
(CONTINUED) | |
76. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
128 CONTINUED: (2) 128 | |
ANDY | |
Hey, I figured out a few things on my | |
own, too. Turns out I'm not as nice as | |
you thought. | |
CHRISTIAN | |
God I hope not. | |
He openly admires her in a way that makes it clear he's | |
imagining her with the dress off. | |
CHRISTIAN (CONT'D) | |
If you didn't have that stupid | |
boyfriend, I'd have to whisk you away | |
right here and now. | |
ANDY | |
Do you really say things like that to | |
people? | |
CHRISTIAN | |
Evidently. | |
ANDY | |
I have to go... | |
CHRISTIAN | |
Are you sure? My editor from Vanity | |
Fair is in there and I was going to | |
introduce you to him. | |
(off her look, surprised) | |
You sent me your stuff, remember? I | |
have to be honest, I only read a | |
couple -- that was quite a big packet - | |
- but they weren't half-bad. You're | |
pretty talented, Andy. He should meet | |
you. Come on in. Just one drink. | |
ANDY | |
Well, maybe I could-- | |
(quickly) | |
No no no. I can't. I just can't. | |
ANDY turns and races towards her town car. | |
CHRISTIAN | |
Say hello to the boyfriend for me. | |
ANDY looks at her watch as she runs away. Winces. She's so | |
late. | |
76A. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
129 EXT. STREET/INT. TOWN CAR -- NIGHT 129 | |
ANDY looks over at ROY. | |
(CONTINUED) | |
77. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
129 CONTINUED: 129 | |
ANDY | |
Can you go any faster? | |
130 INT. RESTAURANT -- NIGHT 130 | |
DOUG and LILY are sitting at a table with a few other | |
friends. ANDY walks in still in her evening wear and looks at | |
them. | |
And understands right away. NATE is long gone. | |
130A INT. APARTMENT -- NIGHT 130A | |
ANDY walks in, holding a cupcake with a lit candle on it. | |
NATE'S watching ESPN. He barely looks up. | |
ANDY | |
Happy Birthday. | |
NATE turns off the TV, looks at her. | |
ANDY (CONT'D) | |
Nate, I'm so sorry. I was trying to | |
leave, but there was a lot going on | |
and I didn't have a choice and-- | |
NATE | |
Don't worry about it. I'm going to | |
bed. | |
He walks past her. | |
ANDY | |
Can we at least talk about it this-- | |
He starts to leave, turns, looks at her. | |
NATE | |
You look really pretty. | |
And he walks into the bedroom. ANDY stands there, feeling | |
terrible. | |
130B INT. APARTMENT -- DAWN 130B | |
Very early. ANDY is getting dressed, by now every bit as | |
expert as the girls in the beginning of the movie. | |
She pauses a moment, watching NATE sleep. Then she exits. | |
78. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
130C INT. RUNWAY -- DAY 130C | |
ANDY on the phone. | |
ANDY | |
I don't understand what's so difficult | |
about scheduling a preview. If you | |
want Miranda to give you any | |
editorial, we'll need to see the | |
clothing at least three weeks before | |
the show. Yes, please. See what you | |
can do. | |
She hangs up. EMILY looks over at her, raises an eyebrow. | |
EMILY | |
Everything okay? | |
ANDY | |
Yeah. I'm... fine. | |
The phone rings. | |
ANDY (CONT'D) | |
Miranda Priestly's office. Thanks. | |
(hangs up) | |
I gotta go pick up the Polaroids from | |
the shoot. | |
130D EXT. ZOO -- DAY 130D | |
Outside at the zoo. We see MODELS, wearing gorgeous evening | |
gowns, their faces partly obscured by beautifully detailed | |
masks depicting different animals. | |
We see NIGEL, JOCELYN and a few CLACKERS. | |
JOCELYN | |
No, no, no. I think Gisele should be | |
the lizard and Vivian the donkey. | |
NIGEL | |
The lizard's better with the Dolce. | |
(beat) | |
Sometimes I can't believe I talk about | |
this crap all day. | |
(CONTINUED) | |
79. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
130D CONTINUED: 130D | |
Two of the CLACKERS are checking out the MODELS. | |
CLACKER #2 | |
God, we should have a pig mask for | |
Rhona. | |
CLACKER #1 | |
I know. She's huge. | |
We see the model they're talking about. Perfectly skinny, of | |
course. Just then ANDY walks over. | |
The CLACKER hands ANDY a stack of Polaroids. ANDY turns to | |
go, but NIGEL stops her. | |
NIGEL | |
Get these to Miranda right away. Tell | |
her I switched in the Dior for the | |
Rochas. | |
ANDY | |
(flat) | |
Great. No problem. | |
NIGEL | |
Hey. Adjust the attitude. Don't make | |
me feed you to one of the models. | |
ANDY | |
Sorry. Busy day. And my personal life | |
is going down the drain. That's all. | |
NIGEL | |
Join the club. You start to do well at | |
work, that's what happens. | |
ANDY looks at him. I'm doing well at work? | |
NIGEL (CONT'D) | |
Let me know when your whole life goes | |
up in smoke. That means it's time for | |
a promotion. | |
131-134 OMITTED 131-134 | |
135 INT. MIRANDA'S FOYER -- NIGHT 135 | |
ANDY steps in, carrying the dry cleaning and The Book, moving | |
quickly. Suddenly she hears a voice, emerging from upstairs. | |
MIRANDA | |
Andrea. Come up here. | |
(CONTINUED) | |
80. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
135 CONTINUED: 135 | |
ANDY practically has a heart attack. | |
135A INT. LIVING ROOM -- NIGHT 135A | |
ANDY walks in, curious. And scared. ANDY steps into the | |
apartment, | |
MIRANDA | |
Paris is the most important week of my | |
year. I need the best team possible | |
with me. | |
And this is when ANDY starts to have a bad feeling. | |
MIRANDA (CONT'D) | |
That no longer includes Emily. | |
ANDY realizes... | |
ANDY | |
Wait. You want ME to -- oh, no. No, | |
no. Emily would die. Her whole life is | |
about Paris. | |
MIRANDA stares. Doesn't care. | |
ANDY (CONT'D) | |
She hasn't eaten in weeks. I can't do | |
that, Miranda. I can't. | |
MIRANDA | |
If you don't go, I'll assume you're | |
not serious about your future at | |
Runway or any other publication. | |
ANDY looks at her. | |
MIRANDA (CONT'D) | |
The decision is yours. | |
ANDY | |
But-- | |
MIRANDA | |
That's all. | |
136 OMITTED 136 | |
137 EXT. MIRANDA'S BUILDING -- NIGHT 137 | |
ANDY walks out of the building. ROY opens the door to the | |
town car, but she waves him away. | |
81. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
138 EXT. BROADWAY -- NIGHT 138 | |
ANDY walks downtown alone, thinking. Walks by a newsstand | |
covered with the latest Runway... a store window filled with | |
the latest fashions... a bunch of people her age drinking at | |
an outdoor restaurant, looking carefree... | |
139 INT. ANDY & NATE'S APARTMENT -- LATER 139 | |
ANDY looks through the clips of all her articles from | |
college. And at a picture of herself at graduation, | |
surrounded by her parents, her relatives, her friends. | |
Her parents are beaming, exuding pride. | |
140 INT. RUNWAY - BULLPEN -- DAY 140 | |
The desks outside MIRANDA'S office are empty. We hold for a | |
few beats. | |
Then ANDY comes in, walking slowly, still unsure. | |
And at that moment MIRANDA appears. They look at each other. | |
MIRANDA nods, almost imperceptibly. ANDY nods back. | |
And MIRANDA takes her coat off. ANDY holds out her arms to | |
take the coat from her. | |
But MIRANDA puts the coat on EMILY'S desk instead. Right in | |
front of EMILY'S Arc de Triomphe screensaver. | |
And then MIRANDA strides into her office. ANDY sits down, | |
trying to grasp the magnitude of what just happened. And just | |
then MIRANDA pokes her head back in. | |
MIRANDA | |
Don't forget to tell Emily. | |
And we see ANDY'S face. Me? | |
141 INT. RUNWAY - BULLPEN -- DAY 141 | |
ANDY is waiting for EMILY, dreading her arrival. Suddenly she | |
can't take it anymore. She dials the phone. | |
142 EXT. MIDTOWN STREET -- DAY 142 | |
EMILY is in even more than her usual tizzy. | |
ANDY (O.S.) | |
Emily-- | |
(CONTINUED) | |
82. | |
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142 CONTINUED: 142 | |
EMILY | |
Sorry I'm late. Miranda wanted some | |
scarves from Hermes and she told me | |
yesterday but I forgot and so-- | |
ANDY (O.S.) | |
Emily, I have to talk to you. | |
EMILY | |
I freaked out of course, but then I | |
just called Martine at home and she | |
opened the store early, so I got them. | |
EMILY juggles an Hermes bag, her purse, her cell phone, | |
almost mows down an OLD LADY. She mouths "Sorry." | |
ANDY | |
Okay. Emily. When you get in, I want | |
to talk to you about something-- | |
EMILY | |
I hope it's not another Miranda | |
problem-- | |
ANDY | |
Not exactly. | |
EMILY | |
Good. Because I've got so much to deal | |
with before I go, I swear to God I | |
can't even-- | |
And that's when EMILY steps into the street without looking. | |
The second she steps off the sidewalk-- | |
Blam! EMILY is hit by a taxi. | |
We see her purse, her cell phone, her shopping bags, some of | |
the orange Hermes boxes, and some of the scarves as they fly | |
through the air. | |
143 INT. LENOX HILL HOSPITAL -- DAY 143 | |
ANDY sits in the waiting room, distraught. | |
144 INT. HOSPITAL ROOM -- DAY 144 | |
Lying in a hospital bed, her face with no make-up, wearing a | |
dumpy hospital robe, EMILY looks like what she is... | |
...a skinny tired young GIRL. | |
(CONTINUED) | |
83. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
144 CONTINUED: 144 | |
ANDY stands by the window, arms folded, defensive. | |
EMILY | |
I don't care if she was going to fire | |
you or beat you with a red hot poker, | |
you should have said no. | |
ANDY | |
I didn't have a choice. You know how | |
she is. | |
EMILY | |
Oh, please. That's a pathetic excuse. | |
Just then an ORDERLY walks in with her dinner, laden with | |
fattening foods -- a cream soup, bread, pasta, cheese and | |
dessert. | |
EMILY grabs a pudding, peels off the foil top. | |
EMILY (CONT'D) | |
What gets me about this whole thing | |
is, you're the one who pretends you | |
don't care about this stuff. You don't | |
care about fashion, you just want to | |
be a journalist, blah, blah, blah. | |
What a load of bollocks. | |
She angrily finishes the last spoon of pudding, grabs a | |
dinner roll, which she starts to butter. | |
ANDY | |
Look, I know you're mad. And I don't | |
blame you. | |
EMILY | |
Face it, Andy. You sold your soul the | |
day you put on your first pair of | |
Jimmy Choos. | |
She bites off a hunk of dinner roll... | |
EMILY (CONT'D) | |
(with her mouth full) | |
And you know what really kills me? The | |
clothes you're about to get. You don't | |
deserve them. You eat carbs, for | |
Christ's sake. It's so unfair. | |
(takes another bite) | |
Just go. | |
(CONTINUED) | |
84. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
144 CONTINUED: (2) 144 | |
ANDY | |
Emily-- | |
EMILY | |
I said, go! | |
145 INT. CHELSEA GALLERY -- NIGHT 145 | |
LILY has curated a show at the gallery where she works. LILY | |
rushes around. NATE is not there yet. ANDY stands with DOUG. | |
DOUG | |
You're going to Paris for the couture | |
shows? That's the coolest fashion | |
event of the year -- who are you going | |
to see Galliano? Lagerfeld? Nicolas | |
Ghesquiere? | |
ANDY | |
Okay, now you're scaring me. | |
Just then LILY walks over to them. | |
ANDY (CONT'D) | |
Lily, this show is amazing. I am so | |
proud of you. | |
LILY | |
I wasn't sure you would be able to | |
make it. | |
ANDY | |
What are you talking about? I wouldn't | |
miss this. | |
LILY and DOUG look at her. | |
ANDY (cont'd) (CONT'D) | |
Okay, so lately I've missed a few | |
things... a lot of things... almost | |
everything. | |
LILY | |
I'm just glad you're here. Start with | |
the murals in the other room. They're | |
amazing... | |
145A A LITTLE LATER-- 145A | |
ANDY looks at the artwork. Suddenly she hears a voice. | |
(CONTINUED) | |
84A. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
145A CONTINUED: 145A | |
CHRISTIAN | |
Hey, Miranda Girl. | |
(CONTINUED) | |
85. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
145A CONTINUED: (2) 145A | |
She closes her eyes. Can't be. She turns. Yup. | |
CHRISTIAN (CONT'D) | |
I was just thinking about you. | |
ANDY | |
Come on. | |
CHRISTIAN | |
It's true. I'm profiling Gaultier for | |
Interview and I was making plans for | |
Paris and found myself wondering if | |
you would be there. | |
ANDY | |
Actually... | |
Stop smiling. Why am I smiling? | |
ANDY (cont'd) (CONT'D) | |
I am going-- | |
CHRISTIAN | |
That's great. I'm staying at a | |
fantastic little hotel in the Seventh | |
across the street from a falafel | |
restaurant that will change your life. | |
ANDY | |
Sorry. I'll be too busy working. | |
You'll have to find someone else's | |
life to change. | |
CHRISTIAN | |
But that's just it. I'm starting to | |
wonder if I can. | |
And with that, he leans in, plants a soft kiss on her cheek. | |
ANDY closes her eyes, blushing like crazy. | |
When she opens her eyes, CHRISTIAN is gone. And it's not for | |
a moment that she notices... | |
... LILY, about ten feet away, staring at her, a look of | |
surprise and disgust on her face. | |
145B INT. CHELSEA GALLERY -- NIGHT 145B | |
ANDY follows LILY through the gallery. | |
(CONTINUED) | |
86. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
145B CONTINUED: 145B | |
ANDY | |
He's just a guy I know from work. | |
LILY | |
Yeah. That looked like work. | |
ANDY | |
You're making a big a deal out of-- | |
LILY | |
The Andy I know is madly in love with | |
Nate, is always five minutes early and | |
thinks Club Monaco is couture. For the | |
last 16 years I've known everything | |
about that Andy, but this person? | |
She gestures to ANDY. | |
LILY (cont'd) (CONT'D) | |
This glamazon who skulks around in | |
corners with some random hot fashion | |
guy? I don't get her. | |
ANDY looks at her, stunned. | |
LILY (CONT'D) | |
Have fun in Paris. | |
She turns and walks away. ANDY turns. NATE is standing there. | |
NATE | |
You're going to Paris? | |
ANDY | |
It just happened-- | |
NATE | |
I thought Paris was some big deal for | |
Emily and-- | |
ANDY | |
Great. Now you're going to give me a | |
hard time, too? | |
And ANDY walks away, upset. NATE follows her. | |
146 EXT. GALLERY -- NIGHT 146 | |
NATE follows ANDY outside. | |
NATE | |
What the hell is wrong with you? | |
(CONTINUED) | |
87. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
146 CONTINUED: 146 | |
ANDY | |
Miranda asked me and I couldn't say | |
no, okay? I didn't have a choice. | |
NATE | |
I know, I know. That's your answer for | |
everything lately. I didn't have a | |
choice. Like this job was forced on | |
you. Like you don't make these | |
decisions yourself... | |
ANDY | |
Okay. I get it, you're mad because I | |
work late all the time, because I | |
missed your birthday party-- | |
NATE | |
Oh, come on. What am I, four? | |
ANDY | |
You hate Runway. And Miranda. You | |
think fashion is stupid. You've made | |
that clear. | |
NATE | |
Andy, I make port wine reductions all | |
day. I'm not exactly in the Peace | |
Corps. I wouldn't care if you were out | |
all night pole dancing if you did it | |
with some integrity. | |
ANDY | |
So now I have no integrity. Great. | |
NATE | |
You used to say this was just a job. | |
You made fun of the Runway girls. And | |
now you've become one of them. | |
ANDY | |
That's absurd. | |
NATE | |
Look at you. Now that I know how much | |
you're willing to change to be | |
successful, it makes me wonder if we | |
ever had anything in common. | |
ANDY | |
You don't mean that. | |
(CONTINUED) | |
88. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
146 CONTINUED: (2) 146 | |
NATE | |
I do. I really do. | |
Beat. ANDY tries to catch her breath. | |
ANDY | |
Then maybe this trip is coming at a | |
good time. Maybe we should take a | |
break. | |
She stands there, waiting for him to protest, throw his arms | |
around her. | |
He looks at her. Stunned at what she just said. And after a | |
painful moment, he simply walks away. | |
ANDY (CONT'D) | |
Nate! | |
He turns. And just then her phone rings. They both know who | |
it is. And that she has to take the call. | |
NATE | |
In case you're wondering, the person | |
whose calls you always take, that's | |
the relationship you're in. | |
The phone keeps ringing. | |
NATE (CONT'D) | |
I hope you two are very happy | |
together. | |
And he walks away. ANDY clicks on the phone. | |
ANDY | |
Hello, Miranda... | |
DISSOLVE TO: | |
147 EXT. PARIS -- ESTABLISHING -- NIGHT 147 | |
A limo drives across the city. | |
148 INT. LIMO -- NIGHT 148 | |
ANDY looks out the window, watching Paris at night whizzing | |
by. And even though she's still feeling melancholy, she is | |
awed by what she sees. | |
MIRANDA, sitting across from ANDY, is not even looking out | |
the window. She's looking through the Book. | |
89. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
149 EXT. PLACE DE VENDOME -- NIGHT 149 | |
The Paris Ritz. MIRANDA'S limo pulls up. | |
150 INT. RITZ HOTEL ANDY'S SUITE -- PARIS -- NIGHT 150 | |
The BELLMAN opens the door to a huge suite. | |
ANDY | |
Wait. This is not right. Miranda is | |
staying in the suite. | |
BELLMAN | |
That's correct, Mademoiselle. Miranda | |
Priestly's suite is down the hall. | |
ANDY | |
This is my room? | |
151-154 OMITTED 151-154 | |
155 INT. FASHION SHOW - PARIS -- DAY 155 | |
ANDY sits in the front row beside MIRANDA. Half the INVITEES | |
are looking at the clothes. The other half are watching | |
MIRANDA'S reaction to the clothes. | |
156 INT. FASHION SHOW -- NIGHT 156 | |
Backstage at a fashion show where the models are undressing | |
and changing... | |
MIRANDA hobnobs with designers, editors and celebrities and | |
ANDY is right there beside her. | |
157 EXT. FASHION SHOW -- DAY 157 | |
MIRANDA walks by some paparazzi outside the Chanel show. They | |
scream her name. She shows off her best smile. | |
ANDY squints, blinded by the flashbulbs. Suddenly she hears a | |
voice behind her. | |
CHRISTIAN | |
You know, I've been thinking, and you | |
still owe me for Harry Potter. | |
She turns. Sees CHRISTIAN. And she finds herself alarmingly | |
happy to see him. | |
(CONTINUED) | |
90. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
157 CONTINUED: 157 | |
ANDY | |
Oh, do I? | |
CHRISTIAN | |
Of course you do. You working tonight? | |
ANDY | |
Actually, Miranda has a dinner. | |
CHRISTIAN | |
So you're free. Perfect. Oh, but | |
there's a problem, huh? Le Boyfriend. | |
At the mention of this, ANDY blushes slightly. | |
CHRISTIAN (CONT'D) | |
Wait. Don't tell me, The boyfriend is | |
non plus? Je suis trs trs desol. | |
ANDY | |
Oh, you're so full of it. You are not | |
desol at all. | |
CHRISTIAN | |
Yeah, not even a little. What time | |
should I pick you up? | |
158 OMITTED 158 | |
159 INT. RITZ HOTEL - MIRANDA'S SUITE -- EVENING 159 | |
ANDY walks in, cheerful, carrying a seating chart. She is | |
surprised to see MIRANDA just sitting on the sofa. | |
There's a strange lag before she looks up at ANDY. ANDY | |
registers something is odd. Finally-- | |
MIRANDA | |
(distracted) | |
There you are. We need to go over the | |
seating chart for the luncheon. | |
ANDY starts to take the chart out of her bag, but she can't | |
help but notice MIRANDA is... staring into space. | |
ANDY | |
Sure. No problem. I have it right | |
here, um... | |
And finally MIRANDA focuses on her. | |
(CONTINUED) | |
91. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
159 CONTINUED: 159 | |
MIRANDA | |
By all means, move at a glacial pace. | |
You know how that thrills me. | |
ANDY puts down the seating chart. MIRANDA studies it. And | |
there's an uncharacteristic lag in her decision making. | |
ANDY watches her. Something definitely is up. | |
MIRANDA (CONT'D) | |
Okay, so, first of all, let's put Jay- | |
Z at my table. | |
ANDY | |
But your table is full. | |
MIRANDA | |
Stephen won't be coming. | |
She takes his the tab off the seating chart and removes it. | |
ANDY looks at her, not understanding. | |
ANDY | |
So Stephen is not... so you don't need | |
me to fetch Stephen from the airport | |
tomorrow? | |
MIRANDA | |
Well, if you speak to him and he | |
decides to rethink the divorce, then | |
"fetch" him. Fetch away. | |
ANDY now freezes. | |
MIRANDA (CONT'D) | |
When we get back to New York, we'll | |
need to think of a way to keep it out | |
of the press. | |
ANDY | |
Of course. | |
MIRANDA | |
Another divorce in the papers... and | |
we all know what they'll say about me - | |
- Dragon Lady, career-obsessed, drove | |
away another "Mr. Priestly". | |
And despite herself, MIRANDA wanders off her path... | |
(CONTINUED) | |
92. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
159 CONTINUED: (2) 159 | |
MIRANDA (CONT'D) | |
He knew who I was, you know. They all | |
did. And at first they're always proud | |
to be with a powerful, accomplished | |
woman. That's what they say. But | |
then... | |
ANDY is afraid to move a muscle, afraid to startle MIRANDA. | |
MIRANDA (CONT'D) | |
I don't care what anyone says about | |
me, of course. But it's so unfair to | |
the girls... another disappointment, | |
another stepfather, gone... | |
She tries to shake herself out of it. | |
MIRANDA (CONT'D) | |
I mean, the point is-- | |
She pauses to collect herself. For a second ANDY thinks she | |
might actually fall apart. | |
MIRANDA (CONT'D) | |
We really need to figure out where to | |
put Donatella because she's barely | |
speaking to anyone. | |
Beat. And ANDY can't believe she's recovered so quickly. | |
ANDY | |
Miranda, I'm so sorry. If you want me | |
to cancel your evening, I can. | |
And her pitying tone finally shakes MIRANDA back. | |
MIRANDA | |
Don't be ridiculous... why would you | |
do that? | |
Beat. And ANDY can't believe she's recovered so quickly. | |
ANDY | |
Miranda, is there... is there anything | |
else I can do? | |
And MIRANDA slowly looks at her, the ice completely forming. | |
MIRANDA | |
Your job. | |
160 OMITTED 160 | |
93. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
161 EXT. RITZ HOTEL -- NIGHT 161 | |
We see MIRANDA, striding out of the lobby. And what we notice | |
is... she looks fine. Done up, confident walk. | |
162 INT. LIMO -- NIGHT 162 | |
MIRANDA closes the door. And now that she's alone, for one | |
second her veneer cracks. She takes a breath. Moving on. | |
MIRANDA | |
(to the DRIVER) | |
Go. | |
162A INT. HOTEL SUITE -- NIGHT 162A | |
ANDY is dressed for her date with CHRISTIAN. Just then | |
there's a knock at the door. ANDY opens it. | |
NIGEL | |
Hi. Listen, I need Miranda's itinerary | |
because-- | |
He looks at her outfit. | |
NIGEL (CONT'D) | |
Who put that together for you? | |
She hands him the itinerary. | |
ANDY | |
What do you mean? | |
NIGEL | |
That outfit. | |
ANDY | |
Oh, I just threw it on. | |
NIGEL | |
(takes it in) | |
Incredible. Well, I guess my work here | |
really is done. Come on. Let's have | |
champagne. We're celebrating. | |
He walks over to the minibar and takes out champagne, pops | |
the cork, pours two glasses. | |
ANDY | |
What are we toasting? | |
(CONTINUED) | |
94. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
162A CONTINUED: 162A | |
NIGEL | |
To getting the dream job, the one a | |
million girls wanted. | |
ANDY | |
Nigel. I got my job months ago. | |
NIGEL | |
I'm not talking about you. | |
She looks at him, confused. | |
NIGEL (CONT'D) | |
James Holt. Massimo is investing in | |
James' company, taking it global with | |
the rest of CFG -- shoes, bags, | |
fragrances, the works. So James needs | |
a partner. And that would be me. | |
(off her look) | |
Miranda knows. She put me up for it. | |
ANDY | |
(stunned) | |
You're leaving? Nigel, I can't imagine | |
Runway without you. | |
NIGEL | |
Can you believe it? For the first time | |
in eighteen years, I'm going to call | |
the shots in my own life. One day I | |
might be able to come to Paris and | |
actually... see Paris. | |
ANDY | |
God. I'm so happy for you, Nigel. You | |
deserve it. | |
NIGEL | |
Bet your ass. | |
He raises a glass. They toast. | |
163 INT. L'AMBROISIE -- NIGHT 163 | |
CHRISTIAN and ANDY have dinner in a tiny romantic restaurant | |
on the Place des Vosges. | |
ANDY | |
...I've never seen anyone as dedicated | |
as Miranda. | |
(CONTINUED) | |
95. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
163 CONTINUED: 163 | |
CHRISTIAN | |
That's fantastic. Can we stop talking | |
about her now? | |
ANDY | |
I'm just saying, yes, there are things | |
she does I don't agree with, but... | |
CHRISTIAN | |
Oh, come on, Andy. You hate her. Just | |
admit it. She's a notorious sadist, | |
and not in the good way. | |
ANDY | |
Okay, so she's tough, but if Miranda | |
were a man, no one would notice | |
anything but how great she is at her | |
job. | |
CHRISTIAN bursts into laughter. | |
CHRISTIAN | |
I can't believe this. You're defending | |
her. The wide-eyed girl peddling her | |
earnest newspaper stories -- you're | |
crossing over to the dark side. | |
ANDY | |
I resent that. | |
CHRISTIAN | |
You shouldn't. It's sexy. | |
He pours her more wine. And despite herself, she smiles. | |
ANDY | |
Sexy? Really? | |
CHRISTIAN | |
Really. | |
164 EXT. PARIS STREET -- NIGHT 164 | |
They walk home together through the Place Des Vosges, leaning | |
against each other. ANDY is tipsy. | |
ANDY | |
I have no idea where we're going. You | |
could be leading me anywhere... | |
(CONTINUED) | |
95A. | |
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164 CONTINUED: 164 | |
CHRISTIAN | |
Don't worry. I know this city like the | |
back of my hand. It's my favorite | |
place on the planet. You know what | |
Gertrude Stein said -- "America is my | |
country and Paris is my hometown." | |
She looks at him and laughs. | |
ANDY | |
You are unbelievable. Do you write | |
that stuff down and file it away to | |
use on girls? | |
CHRISTIAN | |
I work free-lance. Leaves me with some | |
time on my hands. | |
ANDY | |
Well, I never understood why everyone | |
was so crazy about Paris, but now... | |
She swirls around. | |
ANDY (CONT'D) | |
It's. So. Beautiful. | |
And suddenly he catches one of her arms and almost like a | |
dance move pulls her into him and kisses her. | |
ANDY (CONT'D) | |
I can't do this. | |
(Another kiss) | |
(MORE) | |
(CONTINUED) | |
96. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
164 CONTINUED: (2) 164 | |
ANDY (CONT'D) | |
Nate and I only split up a few days | |
ago. | |
(Another kiss) | |
I've had too much wine and my | |
judgement is impaired. | |
(Another kiss) | |
I barely know you and I'm in a strange | |
city. | |
(He kisses her again) | |
I'm out of excuses. | |
CHRISTIAN | |
Thank God. | |
165 INT. CHRISTIAN'S HOTEL ROOM -- NIGHT 165 | |
ANDY and CHRISTIAN are kissing on his bed. | |
166 INT. CHRISTIAN'S HOTEL ROOM -- MORNING 166 | |
ANDY wakes up. Her hair and make-up from the night before are | |
askew. She realizes what she did. | |
We hear the sound of the shower running. | |
She sits up. Catches sight of herself in the mirror. Ouch. | |
Checks the clock on her phone. Late. Shit. | |
ANDY starts getting dressed, quickly. She tries to find her | |
left shoe, pulls on the bedspread, knocking a few papers on | |
the bedside table. | |
And that's when sees something. | |
A mock-up of a magazine. With the familiar RUNWAY logo. She | |
picks it up. | |
167-170 OMITTED 167-170 | |
171 INT. SHOWER -- DAY 171 | |
CHRISTIAN stands under the spray of water. Suddenly the | |
shower curtain is yanked back. | |
ANDY standing there, furious. Holds up the issue of mock-up. | |
ANDY | |
What the hell is this? | |
CHRISTIAN, cool as can be, steps out and grabs a towel, which | |
he wraps around himself. | |
(CONTINUED) | |
97. | |
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171 CONTINUED: 171 | |
CHRISTIAN | |
What does it look like? It's a mock- | |
up. | |
ANDY | |
Of? | |
CHRISTIAN | |
Of what American Runway will look like | |
when Jacqueline is the new editor-in- | |
chief. | |
He walks into the hotel room. | |
171A INT. HOTEL ROOM -- DAY 171A | |
ANDY follows him. He calmly dresses as they talk. | |
ANDY | |
They're replacing Miranda? | |
CHRISTIAN | |
Yes. And she's bringing me in to run | |
all the editorial content. | |
(off ANDY'S stunned look) | |
Are you really surprised? Jacqueline | |
is a lot younger than Miranda. Has a | |
fresher take on things. Not to mention | |
that American Runway is one of the | |
most expensive books in the business. | |
Jacqueline does the same thing with a | |
lot less money. Irv is a businessman, | |
you know. | |
ANDY | |
Miranda will be devastated. Runway is | |
her whole life. He can't do that to | |
her. | |
CHRISTIAN | |
It's done. Irv's going to tell Miranda | |
after the party for James. | |
ANDY | |
And she has no idea...? | |
CHRISTIAN | |
She's a big girl. She'll be fine. | |
He reaches out to grab her arm. But she looks at him with | |
utter contempt. | |
(CONTINUED) | |
98. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
171A CONTINUED: 171A | |
ANDY | |
I have to go. | |
She walks away. He calls after her. | |
CHRISTIAN | |
It's done, Andy. | |
172 INT. RITZ HOTEL - CORRIDOR -- DAY 172 | |
ANDY paces. | |
173 OMITTED 173 | |
174 EXT. PARIS STREET -- DAY 174 | |
ANDY races down the street. She dials her cell phone. MIRANDA | |
picks up. | |
ANDY | |
Oh, thank God. Where are you? | |
MIRANDA | |
Excuse me? | |
ANDY | |
I need to talk to you. Right away. | |
It's about Jacqueline Follet, she-- | |
Click. | |
ANDY (CONT'D) | |
Shit! | |
175 OMITTED 175 | |
176 INT. HOTEL CRILLON - CORRIDOR -- DAY 176 | |
ANDY runs down a corridor. She paces a second, knowing she's | |
going to get her ass kicked, then knocks on the door. | |
IRV opens the door. We see MIRANDA behind him. When she sees | |
ANDY, she walks over. Turns to IRV. | |
MIRANDA | |
Excuse us a moment. | |
MIRANDA pulls ANDY into the hall. | |
MIRANDA (CONT'D) | |
Have you lost your mind? | |
(CONTINUED) | |
99. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
176 CONTINUED: 176 | |
ANDY | |
I have to talk to you. | |
MIRANDA | |
Do not disturb me again. | |
MIRANDA walks into the room, closes the door in ANDY'S face. | |
177-178 OMITTED 177-178 | |
179 INT. CHATEAU -- DAY 179 | |
Finally, ANDY sees MIRANDA walking in. MIRANDA prepares to | |
walk right past her. | |
ANDY | |
Miranda, wait. I have to talk to you. | |
You can fire me if you want to after | |
that, but... | |
(gathers all her nerve) | |
Irv is going to make Jacqueline Follet | |
editor-in-chief of Runway. Christian | |
Thompson told me, he's going to work | |
for her. Irv's going to tell you | |
today. I thought if I told you now, | |
you could fix it. | |
ANDY stands there, breathless. Waiting for MIRANDA'S | |
reaction. And MIRANDA looks past her... | |
...we see she's scrutinizing a passing floral arrangement. | |
MIRANDA | |
Are those freesias? | |
ANDY | |
What? No. I specifically told them-- | |
MIRANDA | |
If I see freesia anywhere, I will be | |
very disappointed. | |
She walks away. Leaving ANDY standing there. | |
180 INT. CHATEAU -- DAY 180 | |
We see MIRANDA, mingling with everyone, looking completely | |
poised. ANDY watches her. Just can't believe her composure. | |
She spots CHRISTIAN. He raises a glass. She looks away. | |
(CONTINUED) | |
100. | |
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180 CONTINUED: 180 | |
Suddenly the room quiets as NIGEL steps to the podium. | |
DISSOLVE TO: | |
181 INT. CHATEAU -- DAY 181 | |
NIGEL is at the podium introducing MIRANDA. | |
NIGEL | |
For seventy-two years, Runway has been | |
more than a magazine, it's been a | |
beacon of elegance and grace. Miranda | |
Priestly is the finest possible | |
guardian of that beacon, setting a | |
standard that inspires people across | |
the globe. Ladies and gentlemen, I | |
give you Miranda Priestly. | |
We see ANDY, applauding as MIRANDA steps to the podium. | |
MIRANDA | |
Thank you everyone. Before I talk to | |
you about James and everything he's | |
accomplished, I have news. | |
JAMES smiles at her, raises a glass of champagne. | |
MIRANDA (CONT'D) | |
Tonight is not just an important night | |
for me, for Runway, and for James, | |
it's also important for someone else | |
in this room... | |
ANDY shoots a look at CHRISTIAN. Can tell from the look on | |
his face he has no idea where this is going. | |
MIRANDA (CONT'D) | |
As of next month, James will be | |
partnering with CFG in an expansion of | |
his line. | |
Light applause. | |
MIRANDA (CONT'D) | |
James and Runway have one important | |
thing in common -- a commitment to | |
excellence. | |
ANDY looks over at NIGEL. Beaming. | |
(CONTINUED) | |
101. | |
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181 CONTINUED: 181 | |
MIRANDA (CONT'D) | |
And so it comes as no surprise that | |
James has selected someone from the | |
Runway family as the new copresident | |
of JH International... | |
NIGEL straightens his suit. | |
MIRANDA (CONT'D) | |
My esteemed colleague, Jacqueline | |
Follet. | |
And she indicates JACQUELINE, who waves. Everyone applauds. | |
ANDY'S mouth falls open. She looks over at NIGEL again. His | |
face betrays nothing. He applauds along with everyone else. | |
And ANDY looks to CHRISTIAN. Who is also shocked as hell. | |
MIRANDA (CONT'D) | |
Let's wish Jacqueline the best as she | |
pursues this wonderful opportunity. | |
A hearty round of applause for JACQUELINE. MIRANDA smiles. | |
MIRANDA (CONT'D) | |
And now to the business at hand. A | |
celebration of one of my favorite | |
designers... | |
She smiles at JAMES. | |
182-187 OMITTED 182-187 | |
188 INT. CHATEAU -- LATER 188 | |
ANDY watches everyone swirling around MIRANDA. She walks over | |
to NIGEL among the crowd of well-wishers. | |
ANDY | |
You said it was your dream job. | |
He turns to her. Some emotion on his face now. | |
NIGEL | |
I've given her everything I have, | |
Andy. She knows that. | |
ANDY | |
But you don't need her. You could just | |
leave anyway and- | |
(CONTINUED) | |
101A. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
188 CONTINUED: 188 | |
NIGEL | |
(quickly cutting her off) | |
When the time is right, she'll pay me | |
back. | |
ANDY | |
You sure about that? | |
(CONTINUED) | |
102. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
188 CONTINUED: (2) 188 | |
NIGEL | |
No. But I hope for the best. I have | |
to. | |
And he rejoins the swirl. | |
Just then CHRISTIAN catches ANDY'S eye. At the same time, | |
MIRANDA appears in front of her. | |
MIRANDA | |
I'm ready to go. | |
And ANDY turns and walks away, without so much as a glance | |
back at CHRISTIAN. | |
189 INT. LIMO -- DAY 189 | |
MIRANDA and ANDY ride in the limo on their way back to Paris. | |
MIRANDA is as relaxed as we've seen her. | |
MIRANDA | |
You thought I didn't know. | |
ANDY nods. | |
MIRANDA (CONT'D) | |
I've known what was happening for | |
quite some time. It took a little | |
while to find a suitable alternative | |
for Jacqueline, one she would accept. | |
Turned out, that James Holt job is so | |
absurdly overpaid-- | |
189aaA INT. RESTAURANT -- DAY 189aaA | |
MIRANDA introduces MASSIMO to JACQUELINE. | |
MIRANDA (V.O.) | |
--she jumped at it. | |
189baA INT. LIMO -- DAY 189baA | |
ANDY takes this in... | |
MIRANDA | |
Then I let Irv know Jacqueline was | |
unavailable. | |
189aA INT. MIRANDA'S HOTEL ROOM -- DAY 189aA | |
MIRANDA welcomes IRV into her hotel suite. | |
(CONTINUED) | |
102aA. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
189aA CONTINUED: 189aA | |
MIRANDA (V.O.) | |
Truth is, there's no one who can do | |
what I do, her included. | |
189aB INT. LIMO -- DAY 189aB | |
ANDY watches MIRANDA, stunned. | |
MIRANDA | |
Any of his other choices would find | |
the job impossible and the magazine | |
would surely suffer. Especially | |
because of the list-- | |
189aC INT. MIRANDA'S HOTEL ROOM -- DAY 189aC | |
A quick flash of MIRANDA with IRV. She pushes a list across | |
the table. | |
(CONTINUED) | |
102A. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
189aC CONTINUED: 189aC | |
MIRANDA (V.O.) | |
--designers, photographers, editors, | |
writers, models, all of whom were | |
found and nurtured by me... | |
189aD INT. LIMO -- DAY 189aD | |
ANDY listens, amazed. | |
MIRANDA | |
...all of whom have promised to follow | |
me whenever and if ever I leave | |
Runway. To any publication I choose. | |
Of course, as soon as Irv understood, | |
he reconsidered. | |
189aE OMITTED 189aE | |
189aF INT. LIMO -- DAY 189aF | |
ANDY looks at MIRANDA, taking it all in. | |
(CONTINUED) | |
103. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
189aF CONTINUED: 189aF | |
MIRANDA | |
I must say, I was impressed with you, | |
how intently you tried to warn me. | |
ANDY looks at her, stunned that she knows. | |
MIRANDA (CONT'D) | |
I never thought I would say this, | |
Andrea, but I see some of myself in | |
you. Your dedication, your focus. | |
MIRANDA looks out the window. They're approaching the next | |
party and the paparazzi are waiting outside... | |
MIRANDA (CONT'D) | |
People think success happens to you. | |
It doesn't. You choose it. Every day, | |
I choose excellence. Who else does | |
what I do, at my level? Nobody. They | |
don't even understand what it takes, | |
the days, measured in milliseconds... | |
ANDY stares at her. | |
MIRANDA (CONT'D) | |
But now you know --and I know -- that | |
you have it in you. That you can see | |
beyond what other people want and | |
choose for yourself. | |
She smiles, like she's just given ANDY an enormous | |
compliment. ANDY reels. | |
ANDY | |
But I don't think I am like that. | |
MIRANDA looks at her. Oh? | |
ANDY (CONT'D) | |
I couldn't do what you did to Nigel, | |
Miranda. There's no way I could do | |
something like that. | |
Pause. ANDY can barely believe what she said. But instead os | |
exploding... MIRANDA smiles. | |
MIRANDA | |
Of course you can. You already did. To | |
Emily. | |
ANDY reels. | |
(CONTINUED) | |
104. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
189aF CONTINUED: (2) 189aF | |
ANDY | |
That's not what I -- that was | |
different. I didn't have a choice. | |
MIRANDA | |
No. You did choose. You chose to get | |
ahead. You want this life, those | |
choices are necessary. | |
ANDY | |
But what if it's not what I want? I | |
mean, what if I don't want to live the | |
way you do? | |
MIRANDA looks at her and smiles, and this time, for the first | |
time, her smile is almost maternal. | |
MIRANDA | |
Don't be silly, Andrea. This is what | |
everyone wants. Everyone wants to be | |
us. | |
And with that she opens the door to the limo... | |
189A EXT. RED CARPET 189A | |
...onto the red carpet where she is instantly embraced by the | |
flashing lights of the cameras. | |
ANDY quietly steps out behind MIRANDA. Squinting. She's never | |
gotten used to the lights. | |
MIRANDA moves down the red carpet. We follow her. It's not | |
until MIRANDA is about to open the door that she realizes... | |
ANDY is no longer beside her. | |
190 EXT. PARIS STREET -- EVENING 190 | |
We see ANDY, walking up the street in the dusky light. | |
She has never looked more beautiful. She is serene. And she | |
is free. The wind blows through her hair. She smiles. | |
Her phone rings. She looks down. Sees the name MIRANDA. | |
ANDY doesn't break stride for a moment as she... | |
...tosses the ringing phone into the nearest fountain. | |
191 OMITTED 191 | |
104A. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
192 INT. AIRPORT -- DAY 192 | |
ANDY walks off the plane. Sees LILY standing there, among the | |
CHAUFFEURS, holding a sign that says SACHS. ANDY cracks up, | |
walks over to her. | |
LILY | |
Sorry. Town car's in the shop. | |
(CONTINUED) | |
105. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
192 CONTINUED: 192 | |
ANDY | |
You're such a pain. | |
LILY | |
And you'd be lost without me. | |
ANDY | |
True. | |
They hug. And start walking away together... | |
LILY | |
Does this mean I have to give my purse | |
back? | |
She hugs it close. | |
193 INT. REUNION RESTAURANT -- DAY 193 | |
ANDY waits nervously. NATE walks in, slides into the booth | |
across from her. | |
NATE | |
I have to be at work in ten minutes. | |
What's up? | |
ANDY | |
I just wanted to say... | |
She gathers her nerve. | |
ANDY (CONT'D) | |
Nate, you were right. About | |
everything. I turned my back on my | |
friends, my family, on everything I | |
believed in. And for what? | |
NATE | |
Shoes. And jackets and belts and-- | |
ANDY | |
Nate, I'm just... I'm so sorry. | |
Beat. He looks at her. | |
NATE | |
I flew up to Boston while you were | |
gone. Interviewed at the Oak Room. | |
ANDY | |
And? | |
(CONTINUED) | |
106. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
193 CONTINUED: 193 | |
NATE | |
You're looking at their new sous-chef. | |
I'm moving up there in a few weeks. | |
ANDY | |
That's great, I... congratulations. | |
A moment. As it sinks in what this means. | |
ANDY (CONT'D) | |
Don't know what I'm going to do | |
without those late night grilled | |
cheeses. | |
NATE | |
They have bread in Boston. Might even | |
have Jarlsberg. We might be able to | |
figure something out. | |
ANDY | |
You think? | |
NATE | |
You never know. | |
They smile at each other. Friends, at least, for now. | |
NATE (CONT'D) | |
So, how about you? What are you going | |
to do now? | |
ANDY | |
Not sure. | |
NATE | |
I'm not worried about you. Anything | |
you try, you're gonna kick ass. | |
ANDY | |
You think so? | |
NATE | |
No. I know it. | |
ANDY | |
Thanks. I actually have a job | |
interview today. | |
Beat. He looks her up and down. | |
NATE | |
And that's what you're wearing? | |
106A. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
194 OMITTED 194 | |
195 INT. OFFICE -- DAY 195 | |
ANDY sits across from a scruffy guy in his early forties. | |
EDITOR | |
You know our pay is crap. | |
(CONTINUED) | |
107. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
195 CONTINUED: 195 | |
ANDY | |
That's fine. | |
EDITOR | |
Your clips were excellent. That thing | |
on the janitor's union... that's | |
exactly what we do here. | |
She smiles, humble now. | |
EDITOR (CONT'D) | |
My only question is... Runway? What | |
the hell kind of blip was that? | |
ANDY | |
Learned a lot. In the end, though, I | |
kind of screwed it up. | |
EDITOR | |
That's not what I hear. | |
ANDY looks at him, confused. | |
EDITOR (CONT'D) | |
I called over there for a reference, | |
left word with some snooty girl, next | |
thing you know I got a fax from | |
Miranda Priestly herself-- | |
ANDY blanches. | |
EDITOR (CONT'D) | |
...saying that of all the assistants | |
she had, you were by far her biggest | |
disappointment. | |
ANDY takes a deep breath... | |
EDITOR (CONT'D) | |
And that if I don't hire you I'm an | |
idiot. | |
On ANDY, stunned. | |
EDITOR (CONT'D) | |
You must have done something right. | |
196 OMITTED 196 | |
108. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
197 EXT. ELIAS CLARKE -- DAY 197 | |
ANDY walks over to the Elias-Clarke building, looking at a | |
place that was, in its way, a home to her. | |
Her eyes sweep up the building to the Runway offices. | |
She takes out her cell phone. | |
198 INT. RUNWAY - BULLPEN -- DAY 198 | |
We see EMILY, back at her desk. The camera widens out so we | |
can see... a new SECOND ASSISTANT, eager and nervous. She is | |
showing EMILY a letter. | |
EMILY | |
My God, you call this a letter? Can | |
you spell any word in the English | |
language? | |
The phone rings. EMILY picks up. | |
EMILY (CONT'D) | |
Miranda Priestly's office. | |
ANDY | |
Emily, it's Andy. Don't hang up. I | |
have a favor to ask you. | |
198A INT. RUNWAY -- BULLPEN -- DAY 198A | |
EMILY looks incredulous. | |
EMILY | |
You're joking. YOU have a favor to | |
ask of ME? | |
198B EXT. STREET -- DAY 198B | |
ANDY is walking up the street, on her cell phone. | |
ANDY | |
Thing is, I have all these clothes | |
from Paris and I don't have | |
anyplace to wear them, so I was | |
wondering... is there any way you | |
could take them off my hands? | |
Beat. EMILY realizes what ANDY is offering, but she won't let | |
that show... | |
(CONTINUED) | |
108A. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
198B CONTINUED: 198B | |
EMILY | |
Well, I don't know. It is a huge | |
imposition, but I suppose I could | |
help you out... I'll have Roy pick | |
them up this afternoon. | |
ANDY | |
Thanks, Emily. I appreciate it. | |
198C INT. RUNWAY -- DAY 198C | |
And without a goodbye, EMILY hangs up. The slightest smile | |
creeps across EMILY'S face, but she quickly recovers, hands | |
the ASSISTANT the letter. | |
EMILY | |
Why can't you be more like Andy? | |
199 EXT. STREET -- DAY 199 | |
ANDY hangs up her phone and smiles. And suddenly she sees | |
MIRANDA walk out of the building, on the phone. | |
MIRANDA | |
...I don't understand why it's so | |
challenging to get a car when I ask | |
for one. | |
EMILY (O.S.) | |
It should be there any second. | |
And at that moment the car edges into view. MIRANDA hangs up | |
and strides towards it. | |
And just then something catches MIRANDA'S eyes. ANDY, | |
watching her. They look at each other. | |
A beat. | |
And then ANDY nods her head -- in thanks, in salutation, and | |
in farewell... | |
But MIRANDA does not react. She gets into the car. | |
ANDY shakes her head. That's MIRANDA. She smiles, then turns | |
and starts to walk down the street. | |
108B. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
200 INT. CAR -- DAY 200 | |
MIRANDA gets in, sits back in her seat. Through her window | |
she can see ANDY, a bounce in her step, walking away... | |
And MIRANDA, alone, where no one can see her, finally breaks | |
into a real smile. | |
(CONTINUED) | |
109. | |
The Devil Wears Prada 2nd Blue In Progress 12/00/05 | |
200 CONTINUED: 200 | |
She nods to her driver. Let's go. | |
201 EXT. STREET -- DAY 201 | |
ANDY walks away, smiles, shakes her head, the whole thing | |
almost like a dream. And as she continues moving confidently | |
in the opposite direction from MIRANDA we... | |
FADE OUT | |
Devil Wears Prada, The | |
Writers : Aline Brosh McKenna Lauren Weisberger | |
Genres : Comedy Drama | |
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