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)
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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)
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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)
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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)
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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...
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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)
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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)
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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.
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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)
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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)
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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)
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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)
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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.
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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)
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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)
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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)
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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.
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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)
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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)
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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)
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
The Devil Wears Prada 2nd Blue In Progress 12/00/05
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.
The Devil Wears Prada 2nd Blue In Progress 12/00/05
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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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 rencontré 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.
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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.
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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.
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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.
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129 EXT. STREET/INT. TOWN CAR -- NIGHT 129
ANDY looks over at ROY.
(CONTINUED)
77.
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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.
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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.
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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.
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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.
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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.
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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.
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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 trés trés desolé.
ANDY
Oh, you're so full of it. You are not
desolé 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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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
|
