•

The Devil Wears Prada

Screenplay by

Peter Hedges

Revisions by

Howard Michael Gould

Paul Rudnick
Don Roos

Current Revisions by

Aline Brosh McKenna

March 10, 2005

FADE IN
INT. CHATEAU FRANCE -- DAY
An elegant 17th Century mansion a short distance from Paris, A
dinner is set for about a hundred people. Everything is perfect;
exquisite flowers, linens, silver .••
Anyone who's anyone in the fashion world is there. We see
Lagerfeld ..• Valentino .•. Marc Jacobs ...
NIGEL KIPLING, a dapper man in his late 30's/early 40's, speaks
at a podium at the center of the dais on one side of the room.
Our POV is from someone else on the dais so we see NIGEL from
the back.
NIGEL
.•• her name has become legend. Her
magazine is the Bible for anyone
interested in style, taste and
sophistication. Without a doubt one of
the most elegant women ever to walk
the planet, I give you .•• Miranda
Priestly.
Loud applause rings out. And from the back.we see MIRANDA
PRIESTLY approaching the podium. We can only make out her fancy
updo, the cu:cves of her couture gown.
As MIRANDAlingers, taking in the applause ••.
We reverse to see whose point of view we are watching from •••
..• ANDYBARNES, 20's, pretty, elegantly put together. She stands
a few feet behind MIRANDA.
She applauds, smiling. Some of MIRANDA'S light spills onto ANDY.
MIRANDAstarts to talk and we hear a brief SCREECH of feedback.
The SCREECHdissolves into •.•
FLASH BACKTO:
EXT. MIDTOWNSTREET -- DAY
••• the SCREECHof a taxi, rounding a corner.
Six months .earlier. ANDYwalks out of a subway station,
clutching a piece of paper with di.rections on it.
ANDY looks nothing like the polished young woman from the
ohateau. Her hair and makeup are college student simple •. She
wears her best -- white shirt, blue skirt, comfortable shoes.
 2.

Morning rush hour pedestrians bustle past. She checks her paper.
ANDY
Two blocks to 57th.
EXT. 57TH STREET -- DAY
She looks up at an address. 125. She walks in.
AGUA.RDquickly stops her. Indicates she should sign his
clipboard, which she does.
ANDY
What floor is Elias-Clarke?
Beat. The GUARDjust looks at her. Her heart starts to pound.
ANDY (cont'd)
Don't. Don't tell me.
GUARD
Honey, you want West 57th.
EXT. 57TH STREET -- DAY
ANDYbusts out of the wrong building a.nd starts to run, but--
--she' s moving against the pedestrian tide. We widen out to see
ANDY, bucking the flow of people like a salmon going UI)stream.
She gets to an intersection, starts to cross the street ••.
..• and just misses being decked by a bike messenger. He flips
her off. She barely hesitates, starts running again.
EXT. 57TH STREET -- DAY
ANDYis looking at numbers.
And she sees, looming in front of her, an elegant tower. Elias-
Clarke. 125. She runs toward it.
INT. ELIAS-CLARKE -- DAY
ANDYtrots into the building, out of breath and stops,:
overwhelmed by what she sees.
The lobby looms around her. The place is so big, so unto
itsel=··· it probably rains in here.
INT. HUMANRESOURCESOFFICE -- DAY
ANDYsits across from a bored looking woman, SHERRY.
 3.

on the wall behind SHERRYare framed covers from all the Elias-
Clarke magazines -- a news magazine, a coo.king magazine, .a
fitness magazine ••• and Runway.
SHERRYclicks away on her computer.
ANDY
Thank you for replying to my query
letter. I'm very excited about the
opportunity to--
SHERRY
You like race oars?
Huh?
ANDY
Actually, for me, it's a toss up
between race oars and monster trucks.
SHERRY
I have two openings -- one at Auto
Universe and one at Runway.
ANDY
The fashion magazine? But--
SHERRY
That's it. That's what we have.
ANDY
What if I co.ma back next week?
SHERRY
Might have nothing at all.
INT. RUNWAY
RECEPTION AREA -- DAY
Sleek, elegant, hard-edged.chic. Behind a large reception desk
is an elegant logo that says RUNWAY.
ANDYwalks over to the desk.
ANDY.
I'm here about the assistant·job.
The RECEPTIONIST points ~er towards a seating area •••
... where there are a few other women waiting, each.a tall, thin,·
dressed to kill FEMEOT.

ANDYtries to smile at one of them, who looks away. ANDYsits.

She can hear two of the other WOMAN chatting softly.
 4.

GIRL #1
I can't believe I'm even in this
office.
GIRL #2
Oh, I know. I would murder my best
friend to get this job.
EXT. RECEPTION LATER
ANDYis trying to arrange herself on the uncomfortable sofa when
suddenly a taller, thinner and, amazingly, more groomed version
of the women in the room walks in. ·
This is EMILY, who looks the part of the sleek fashionista, but
is propelled by a core of barely tamped down anxiety.
EMILY
Um••. Andrea Barnes?
EMILY looks up. Their eyes meet. As EMILY takes in how different
ANDY looks from everyone else •••
•.• ANDY springs up and follows her down the hallway.
INT. RUNWAY.-- DAY ,_.,,/

EMILY walks ANDY down the hall.

EMILY
..Who put you up for this job?
ANDY
Human Resources sent me.
EMILY
They do have an odd sense of humor.
At the end of a long corridor is a bullpen -- two desks outside
a large corner office.
ANDY can only see part of the corner office, but it is
seductively bright, sending light strearning into the bullpen.
ANDYand EMILY sit down.
EMILY (cont'd)
Miranda has two assistants I'm the
first, and we 1 re interviewing for the
second, junior assistant.
(pauses, dramatic)
Miranda is an amazing woman, a legend.
(MORE)
 5.
EMILY (cont'd)
Working for her sets you up to work
L anywhere in publishing.
girls
A million
would kiLI, for this job.
ANDY
Sounds great.
EMILY
The thing is, A.ndy,·we are a fashion
magazine and an interest in fashion is
crucial.
ANDY
What makes you think I'm not
interested in fashion?
EMILY gives her a look. Suddenly, EMILY'S Blackberry.goes off.
She gasps.
EMILY
Oh my God. No. No, no, no.
AfIDY
What' a wrong?
Ell. ELIAS-CLARKE -- DAY

'~·
'

A black .sedan pulls to a sudden stop outside the building.

INT. RUNWAY--DAY
EMILY springs to her feet.
EMILY
What the hell is she doing here?
She begins rapid-fire dialing four digit extensions.
EMILY {cont'd}
(all but screaming)
She's on her way -- tell everyone!
Just then NIGEL, looking dapper as usual, rushes over to EMILY.
EMILY (cont'd)
Eer driver text-messaged. Ber colorist
has the flu! ·
NIGEI, turns and calls out to the office.
NIGEL
Man your battle stations!
 6.

He runs down the hall popping in Altoids and brushing himself -~,,./
with a lint roller at the same time.
EXT. ELIAS-CLARKE -- DAY

The sedan door opens. We see more flashes of MIRANDA

..•
..• $2,000 crocodile Manolos, Chanel jacket, perfect hair,
fabulous Harry Winston earrings ..•
INT. ELIAS-CLARKE -- DAY
!!veryone is in a high state of alert.
ASSISTANTS frantically push clothing racks out of the way •..
EDITORS race into their office.
1\NDY peers in, sees one of the EDITORS changing from kitten
heels to sky-high stilettos .••
.•. sees another curling her lashes •••
••. another lining her lips •..
..• another pulls on a body shaper under her dress •••
INT. ELIAS-CLARKE -- DAY
We watch MIRANDA-- still only a partial view of her -- click-
clacking through the lobby in her 4-inch~heels.
And we see PEOPLE reacting to her.
GUARDS, ASSISTANTS and SECRETARIES cower, DISTINGUISHED
EXECUTIVES bow their heads in respectful greeting.
MIRANDAmaintains a high rate of speed towards the elevator.
As she's about to get in she sees a lowly EDITORIAL ASSISTANT in
the elevator. He immediately leaps out.
EDITORIAL ASSISTANT
~orry, Ms. Priestly.
She doesn't acknowledge his existence. Her perfectly manicured
finger presses one of the buttons.
rNT. RUNWAY -- DAY

EMILY looks ,around to see if everything's perfect. Notices ANDY.

 7.

EMILY
Oh my God. You're still here. Go.
ANDYgeta 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.
ANDYsits.
ANDY
(to herself)
·wow, this is like self-esteem camp.
INT. RUNWAY
-- DAY
••. MIRANDAsteps out of the elevator and for the first time _we
see her head-on.
MIRANDAPRIESTLY, in all her glory. She is stunning, perfectly
put .together, a white Hennes scarf around her neck,
MIRANDA'S look is so distinctive you can spot her a mile away.
She is unlike any other beautiful woman, singularly MIRANDA.
INT. RUNWAY
-- DAY
EMILY runs up the hall to MIRANDAand walks her to her office.
MIRANDA
Why didn't you conf_inn?
EMILY
I did. He must have gotten sick
overnight. I'm so sorry, Miranda.
MIRANDA
Sorry is just an excuse to make the
same mistake again.
We see ANDY, watching this, but MIRANDAseems not to notice her,
EMILY
(rattling off quickly)
Here's the bulletin so far. At 7:00,
Simone called from the Paris office.
She figured out dates w~th Tea~ino £0%
the Rio shoot and confinned with
Gisele.
(MORE)
 8'

EMILY (cont'd)
Then at 7:15 Michael Kors called about
the Model of the Year party. He's at
his house in the Caymans. I have that
number. At 7:30 Natalie from Glorious
Foods called to see whether you'd like
the Vacherin filled with mixed berries
praline or warm rhubarb compote. At
B:15 Mrs. Samuels called to remind you
about Parent-Teacher conferences at
Dalton tonight -- you and your husband
have reservations at Le Bernardin
immediately following. 1'1.ndat 8:30
Donatella Versace called about the
upcoming Miami trip. She wants to
know, do you need any staff besides
the driver, chef, Pilates instructor,
personal assistant, three maids and a
yacht captain? Said to call her back
ASAP as the good yacht captains get
snapped up very quickly.
MIRANDA
Fine. I'll be ready to roll calls in
two minutes. Let's try Donatella
first. Then I want Michael, Simone and
then Jay-Z. And tell Nigel I need an
answer about swimwear.
MIRANDAstops at EMILY'S desk, takes off her coat, dumps it on
,~MILY'S chair, walks past ANDY. EMILY is relieved, but then--
MIRANDA{cont'd}
Who was that?
Damn. She noticed her.
EMILY
Nobody. I mean, I was pre-interviewing
assistants for you and she's the last
one but--
MIRANDA
I'll do it. You obviously can't do
anything right ..
MIRANDAgoes into her office. EMILY looks at ANDY.
EMILY
Oh my God. This is so not happening to
me :ri.ght now~

INT. MIRANDA'S OFFICE -- DAY

ANDYenters, hesitant. Behind her, EMILY watches, nervous.
 9.

:'INDYnow has a better view of MIRANDA'S gleaming office.

L
A single flower in a Steuben vase.
Photos by Avedon, Penn, Testino and Meisel.
A large photo taken by a very good photographer,of MIRANDA,her.
husband STEPHENand her twin GIRLS, CASSIDY and CAROLINEand,
playing on a beach in the Bamptons.
Iced Pellegrino on a coaster on the desk. Every current issue of
· any relevant magazine, fanned out precisely on a table.
ANDYwalks in. MIRANDAis busy writing, doesn't look up.
MIRANDA
Who are you?
ANDY
•My name is Andy Barnes. I recently
graduated from--
ANDYhands MIRANDAher resume, which MIRANDAignores.
She finally looks up and gives ANDYher patented once-over, top
to bottom, every molecule dissected.
The phone buzzes. MIRANDApicks it up.
MIRANDA
Yes, all the swimwear by 3 today •••
(hangs up)
What was your major?
ANDY
English, with an emphasis in
journalism.
MIRANDA
Why are you here?
ANDY
Because I think I could do a good job
as your assistant and--
MIRANDA
( impatient)
Why are you here?
 10.

ANDY
My resume got me a meeting with Human
Resources and they said it's this or
Auto Universe.
MIRANDAtakes this in, pleased by her honesty.
MIRANDA
You don't read Runway, do you?
ANDY
No.
MIRANDA
And before today, you had never heard
of me, had you?
ANDY
No.
MIRANDA
And you have no style or sense of
fashion.
ANDY
That depends on--
MIRANDA
That wasn't a question.
She finally picks up ANDY'S resume. Glances.

MIRANDA(cont'd)
Editor-in-Chief of the Daily
Northwestern. Impressive.
ANDY
I also won a nationwide competition
for college journalists with my series
on the janitor's union --
MIRANDAholds up her hand.
MIRANDA
That's all.
ANDY, startled by the abruptness, keeps talking.
ANDY
--that uncovered the exploitation of
the--
 11.

MIR.ANDAstares. ANDYabruptly stops talking. Reads for the door.

But then she stops and turns.
ANDY (cont'd) .
Okay, listen, I may not know too much ·
about fashion, but I'm smart and
· resourceful and I will work very hard
and--
And MIRANDAsays •.• nothing.
ANDY {cont'd) .
And that's it. That's what I wanted to
say. And now I'll just ••. bye-bye.
INT. MCSORLEY'S-- NIGHT
A dark, loud, bustling bar, one of those McSomething bars you.
spend your twenties in.
ANDYis with her boyfriend NATE, a friendly handsome guy with a
great smile, and their friends from college, DOUGand LILY.
DOUGis built like a linebacker and sweet as hell. LILY is arty
and offbeat.
j
'--· ANDYis in a full-body cringe.
ANDY
I-basically came out and told her I
had no idea that she's one of the most
important people in New York
publishing. Oh, and then I ra:mbled
like a crazy person.
LILY
When do you find out if you got it?
.ANDY
Have you not heard what I've:been
saying? I was a jackass. I'm not
getting it.
DOUG
You never know. Miranda Priestly is
famous for being unpredictable •
.ANDY
oh my God. Bow is it that you .know who
she ie and z d~dn't?

DOUG
I'm actually a girl.
 12.

LILY
That would explain so much.
DOUG
Seriously, Miranda is a big deal. I
bet a million girls would kill for
that job.
ANDY
Okay, now you're really scaring me.
l'!e shrugs • ANDYthinks •
ANDY (cont'd)
Maybe I shouldn't let this bother me.
It's a fashion magazine. It's all
about cleavage and lip gloss, right? I
turned down law school to be a ·
journalist. Runway's not right for me.
Her friends exchange glances.
NATE
I don't know. You do have to start
somewhere.
LILY
Yeah. Look at Nate. He's flipping
chicken breasts at O'Neal's now so he
can work his way up to being a chef.
And I would take any job in the art
world. Even if it was not exactly what
I wanted.
ANDY
So what you're saying is, I just blew.
my big break in journalism. Great.
Beat. ANDYputs her head in her hands, bummed.
I.lOUG
Luckily, I already have my dream job.
LILY
(huh?)
You're a corporate research analyst -
DOUG
-- which totally rocks. Best things
are the free bagels on Thursday and
the whores.
They look at him.
 13.

DOUG (cont'd}
Okay, so there are no bagels.
(beat)
And only a couple whores.
INT. NATE'S APARTMENT DAWN
Small, with a view of an air shaft. The bed's a futon •. On the
floor. ANDYand NATE are asleep.
Dim light starts to trickle into the apartment. NATEwakes up,
pulls ANDY closer. Soon they' re kissi.ng. Their kisses become
less sleepy and more urgent and at that moment ••.
ANDY'S cell phone rings. Loud. With a ring tone that's
ironically obnoxious, say, "Oops I .Did it Again."
ANDY feels around, finding the phone.
ANDY
Hello? ••• Now?
She looks over at the alarm clock which reads: 6:45 AM.
INT. ANDY'S APARTMENT
-- MORNING
ANDY, in a hurry, has tried on every bit of clothing she owns;
there's a huge discard pile on the bed. Her closet is empty.
She looks at her outfit in the mirror. And is promptly overcome
by a wave of self-hatred.
She tries .to pull her sweater off. The neckhole is too small.
She hops around, tugging.
INT. RECEPTION-- DAY
ANDYsteps off the elevator with all the RUNWAY girls who are.
turned out to perfection. She looks completely out of place.
INT. RECEPTION -- DAY
.!\NDYsits on the body-twisting sofa. EMILY strides in.
EMILY
I hope you know that this is a very
difficult job for which you are
totally wrong and if you mess up MY
head is on the chopping block.
She instantly turns on her heels. ANDYfo.llows.
 14.

ANDY
(to herself)
So, no pressure, then.

EMILY
We have seven minutes before Miranda
gets here. Let's go.

INT. RUNWAY-- DAY

EMILY walks ANDY through the hallways of the offices,

introducing her to people, though not slowing down.

EMILY
This is Jocelyn from Accessories ••.
Jocelyn, this is Andy, the new me ..•
Andy, this is Steph, assistant art
director .••

All the WOMENwe're meetings are around 25, 6-feet tall and
about 100 pounds. The male employees, straight or gay, are all
expertly styled and groomed.

Suddenly EMILY sees a tall, gorgeous African-American woman.

EMILY (cont'd)
What are you doing here, you witch?!

LISA
I just popped over to say hi to Nigel.

EMILY and LISA hug. EMILY turns to ANDY.

EMILY
This is Lisa, I'm the old her. Miranda
loves her and got her another totally
FAB job.
ANDY looks at LISA, curious.

LISA
It's not a big deal.
(feigning nonchalance)
Assistant editor at the New Yorker.

ANDY
The New Yorker? You're kidding me.

EMILY
Yeah. She's a huge kidder. Especially
with people she doesn't know or care
about.
 15.

She gives LISA a look. Can you believe these newbies?

LISA
And here's the man himself •••
She waves her arm towards the dapper gentleman ANDYsaw
yesterday with the Altoids. He extends a hand to ANDY.
NIGEL
Niget Kipling. Fashion Director. You
must be the new Emily.
He studies .her, .a more benevolent veraion of MIRANDA's
appraisal. Finally he sees her feet.
NIGEL (cont'd)
What are those?
ANDY
My shoes. My mom bought these for me
at Nordstrom's my sophomore year.
NIGEL
So .they're, like, vintage.
She smiles. No idea. He takes her hand and spins her around.
NIGEL (cont'd)
oh my God. I love your look. It's like
Oklahoma and New Jersey fell in love
·and had _a baby.
ANDY
Actually, I'm from Cincinnati.
NIGEL
No, it's not possible. Not you.
He kisses·.her on the cheek.
NIGEL (cont'd)
Welcome to the dollhouse, Baby.
He hooks his arm through LISA'S arm and sweeps her away. EMILY
turns to ])NDY.
EMILY
I have three more minutes to explain
to you your whole entire job.

"--..,
 16.

INT. RUNWAY-- DAY }

J~MILYshows ANDYher desk, next to hers, in the bullpen in front

of MIRANDA'S office.

EMILY
You and I are responsible for the
phones -- one of us must always be
here to answer them. She hates calls
rolling to voicemail. Other than that,
we have totally different jobs. I'll
be 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 the Eiffel Tower screensaver on her monitor.
ANDY
That sounds great.
EMILY
Paris is fabulous. You wear couture,
go to all the shows. It's the best
thing that could ever happen to a
person.
(smiles)
And this time, that person is me.
ANDYlooks at EMILY, amazed by her intensity.
Just then NIGEL comes over. He is carrying a pair of stunning
.black Ji.nuny Choo slingbacks.
NIGEL
I guessed 8 1/2.
ANDY
That's right, but I don't think I'll--
NIGEL
Fine. Use them as a paperweight.
He leaves the shoes and walks away.
EMILY
Now, your duties. First, the food.
 17.

INT. RUNWAY
-- DAY
EMILY shows l\NDY how to aet up for MIRJINDA'S arrival. They move
between the kitchen, the outer office and MIRANDA'S office.
EMILY
It must be Pellegrino, frigid, and
placed on her right in the 2 o'clock
position. These are the only coasters
we use, they're made 'of zebra:wood.
ANDY
Excellent. I don't know what that ia,
but it sounds cool.
EMILY
Her breakfast and lunch are always the
same. Scrambled eggs and bacon for
breakfast. For lunch, a steak so rare
it's practically talking. Once a day
we do a Starbucks run and·she gets a
tall white chocolate·mocha, hotter
· than lava, two blueberry muffins and a
cranberry bliss bar.
ANDY
I can't believe she eats like that.
She's·so thin.
EMILY
I know. She has the·one thing I''Ve
always wanted, •. a metabolism.
EMILY scoops up an armful of magazines.
EMILY {cont'd)
Last thing, the periodicals.
They walk into MIRANDA'Soffice: EMILY spreads out the magazines
on a table.
EMILY (cont'd)
Fanned out with exactly three-quarters
of an inch between them.
They_step back into the outer office. EMILY looks at the clock.
EMILY (cont'd)
1'.nd then ••.
Th~ clock ticks over to 7:30.
/
I.._.·
 18.

EMILY (cont'd)
... . boom!

And that instant MIRANDAappears, talking on her cell phone,

leaving people scurrying behind her.
MIRANDA
(on phone)
••. I told him there's no way we're
doing tartan OR taffeta again .•.
She walks by ANDYand EMILY without acknowledging them or
stopping her conversation, she drops her coat on ANDY'S desk and
walks into her office. ·
EMILY
Second assistant also does coat.
ANDY
coat?
EMILY opens a closet. ANDY takes the coat and hangs it up.
ANDY (cont'd)
Coat. Got it. ·
EMILY
And, you will also eventually be
responsible for the Book.
ANDY
The Book?
(realizes)
I'm repeating everything you say,
aren't I? Wow, that's annoying.
EMILY shows ANDYa large wire-bound collection of pages as big
as a phone book. EMILY opens it and leafs through it.
EMILY
The Book is The Bible. The current
issue in its latest form. Miranda
needs to approve every single thing in
the magazine so she edits it at night.
The Book is. the most important thing
you will ever touch in your whole
life, including your newborn children
and eventually the face of God.
ANDY1.ooks at it. It's very impressive and cool..
 19 ..

'\__,, EMILY (cont'd)

Every night we deliver the Book, _and
her dry ~leaning, to her house.
ANDY
To her house?
(realizes)
Dammit, I did it again.
EMILY
You will only get to deliver the Book
when Miranda trusts you a.pd feels
you're worthy. Until then, l get the
lovely task of staying late waiting
for all the departments to be done.
Just then EMILY'S phone rings. She picks it up.
EMILY (cont'd)
She wants to see you.
EMILY holds up the Jimmy Choos.
EMILY (cont'd)
I'm begging you.
ANDY
Thank you, but I really don't think I
need those. .She must be fine with how
I dress. She hired me. Remember?
. INT. MIRANDA'S OFFICE -- DAY
ANDYwalks in. Smiling. Eager. MIRANDA'S chair faces away from
her.
ANDY
Good morning. Miranda. -What can I do
for you?
~..nd MIRANDAturns. Her gaze lands on A:NDY'S shoes. Then her eyes
travel up to ANDY'S face, a process which seems to take forever.
Then, of all the scary things she could do, MIRANDAdoes the
scariest. Rm:i.les.
INT •. RUNWAY
-- DAY
Jr.NDYflies out of MIRANDA'S office. Briskly walks past EMILY.
Takes the Jimmy Choos, puts them on, walks back into MIRANDA'S
I
''--'· office.
 20.

'E:MILYpromptly takes a tissue from her desk. Picks up ANDY'S

shoes and puts the.~ in the trash.
ANDYwalks back out.
ANDY
She said she needs a skirt from Ralph
Lauren for the Meisel shoot with Naomi
next week.
EMILY
Did she say which skirt?
(ANDYshakes her head No)
Did she say what kind?
(No.)
Color? Shape? Fabric?
(No. No. No. )
God, I hate it when she does that.
:J:NT. RUNWAY
-- LATER
EMILY jots some things down. ANDYchecks her subway map.
ANDY
To get to the Ralph Lauren store, I
take the 6 and--
EMILY
You're not going to the store.
ANDY
Of course not. I'm going ...
(thinks)
... to his house?
EMILY
(Good Lord)
You're going to the showroom. It's
across the street from Miyake over on
Madison.
ANDY
Miyake. Super. Is that a restaurant?
EMILY gives her a completely disgusted look.
ANDY (cont'd}
I'm guessing no.
EMILY
You need to pick up some other things.
as well.
 21.

She hands ANDYa list.

J\NDY
Great.
ANDYstands up, clutching her subway map.
EMILY
Md you do not take the subway on
Elias-Clarke business. Ever.
1>.NDY
Wait. You're kidding.
(excited)
I take a taxi?
EMILY hands her a list.
EMILY
You have exactly forty-five minutes to
get everything done.
EXT. ELIAS-CLI\RKE -- DAY
ANDYsteps out. Sees a Black Lincoln Town.car. Walks over to it.
can't help but smile.
IN.T. TOWN CAA -- DE'1

ANDYlooks around happily.·Notices a little fridge; opens it.

ANDY
(excited)
Oh my.God! Diet Cokel
The DRIVER, ROY, meets her eye in the mirror.
ANDY (cont'd)
(trying to play it off)
I'm just, um, a little thirsty.
ROY smiles, amused.
INT. RALPH LAURENSHOWROOM DAY
ANDYwatches as the SALES REP brings out skirt after skirt.
SALES REP
You must be new. Congratulations.
P~opie wouia KILL for yo~~ jqh*

ANDY
I've heard that.
 22.

SALES REP
Of course, she can keep these as long
as she needs. And here--
She brings out a bag, begins piling items into ANDY'S arms.
SALES REP (cont'd)
For Miranda's twins, they love the
rugbys, and for her husband, I threw
in a couple new suits ...
INT. CHANEL-- DAY
ANDYenters Chanel, a towering three-story structure on 57th.
The Sl',LBSGIRL hands her a pair of teensy white tennis shorts.
ANDY
Is this for one of the twins?
SALESGIRL
(giggles)
Custom-made for Miranda, silly.
ANDYlooks at the shorts. Inhumanly teensy.
INT. HERMES-- DAY
.J
The Hermes SALESGIRL piles about 25 scarf boxes onto ANDY'S
outstretched arms.
SALESGIRL
You want me to .get the driver to help
you?
ANDY
No time. Running late.
INT. ELIAS-CLARKE LOBBY -- DAY
JOCELYN, the accessories editor, waits for the elevator. ANDY,
winded, carrying the tower of scarf boxes, races over.
ANDY
(pleased with herself)
I made it back in time.
(off JOCELYN's look.)
You don't care, do you?
JOCE:i.YN
Miranda does have an eye for the sharp
girls.
, --.../1
 23.

ANDY
(re: scarf boxes)
She must really like these things.
JOCELYN
They're her signature, the Ee:rmes
white scarf. She's never seen without
the:m and she goes through them like
Kleenex.

Oh.
(beat)
You know, if by chance you ever need
any writing done, I was editor of my
college newspaper--
JOCELYNlooks at her.
ANDY(cont'd)
And there's that thing again where you
don't care.
They hear the ding of the elevator and walk in. But suddenly
JOCELYNsees MIRANDAwalking toward the elevator. She
inlinediately gets out.
MIRANDAstands by the elevator, looki~g ·at ANDY,
ANDYstays, looking confused. MIRANDAwait~.
Finally JOCELYNwalks in arid pulls ANDYout. MIRANDAgets in.the
elevator alone .. After the doors close--
ANDY.(cont'd)
We can't ride up.with her?,Why?
JOCELYN
Half a day on the job and you're still
asking "Why?" That concerns me.
INT.. RUNWAY
-- DAY
ANDYwalks in, laden with stuff: EMILY springs up.
EMILY
Thank God you're here. I have to pee.
ANDY
You haven't pe&d a~noe r left~
 24.

EMILY
I told you, these phones can never be
unmanned. Not for a second. I'm going
to lunch. We have fourteen minutes
each. I go first.

ANDY watches EMILY'S pencil-thin hips swing up the hallway.

ANDY
You eat lunch?

INT. CAFETERIA -- DAY

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 walks over to the deserted soup station. Ladles out some
corn chowder into a bowl. NIGEL joins her.

NIGEL
Hey, Cincinnati.

She smiles. He sees what she's putting on her tray.

NIGEL (cont'd)
Corn chowder. Interesting.

ANDY looks at him, confused.

NIGEL (cont'd)
No. Great choice. It's just that I
think cellulite is actually one of the
ingredients of corn chowder.

ANDY
Isn't corn a vegetable?

NIGEL
You are a breath of fresh air •
•
ANDY and NIGEL sit and begin eating.
ANDY.
So none of the girls here eat
anything?
NIGEL
Not since 2 became the new 4 and 0
became the new 2.
 25.

I ANDY
I...,_,.. I'm a 6.
This causes NIGEL to choke on his salad.
Just then ANDYdips a piece of bread in her chowder, eats it.
ACROSSTHE CAFETERIA
••• seeing this, the TWOFASHIONASSISTANTS gasp in horror like
ANDYjust stuck a fork in her eyeball.

ANDYnotices a short, expensively rumpled man walks in,

surrounded by a few IMPORTANTLOOKINGMEN.
ANDY(cont'd)
Who is that?
NIGEL
Irv Ravitz, who--
ANDY
--owns Elias-Clarke. Wow.
NIGEL
That's.him. Tiny, but packs a.punch.
ANDY watches IRV as he gets a tray and goes through·the.line.
ANDY
Andhe's getting oorn,chowder, Great
minds •••
Distracted,. watching IRV, ANDYaccidentally drips on ~er blouse.
ANDY(cont'd)
Oh, .dammit.
on NIGEL, smiling. She looks at him.
ANDY ( oont' d)
Oh no you don't.
He looks at her; What?
ANDY (cont'd)
·You want to lend me a blouse.
NIGEL
•Got me. I'm an evii eiothes-1Gnder
 26.

ANDY
I've already got the shoes, next thing
you know it's a skirt and then boom!
I'm whirling in and out of revolving
doors like Pretty Woman, getting
totally made over.
NIGEL
And that's .•• a bad thing?
ANDY
Nigel, I have scruples. I'm a
journalist.. I won't be working in
fashion forever. I don't think I have
to change everything about myself just
because I have this job.
NIGEL
(giggles)
Who told you that?
ANDY'S watch beeps.
ANDY
I have forty-five seconds to get back
to my desk.
She smiles and gets up.
NIGEL
Scruples and a digital watch. Oh, the
horror.
INT. MIRANDA'S OFFICE -- DAY
The magazine staff is gathered in MIRANDA'S office. MIRANDA
flips through the racks of skirts.
. MIRANDA
Too eighties. Too floppy. Not eighties
enough. Too horrible to be believed.
She looks around at everyone. It is clear. she is horribly
disappointed.
MIRANDA (cont'd)
The layout is supposed to be called
the New Skirt. These are the oldest,
most cliched, tired skirts on earth.·
Just then ANDYwalks in. Silently, she lays out MIRANDA'S coffee
order in front of her.
 27.

MIRANDA(cont'd)
L We need to start over. ·
She looks at ANDY.
MIRANDA(cont'd)
Sit down, Emily, I need you to take
notes on all these changes. First of
all--
ANDY
(innocently)
Actually, it's Andy.
MIRANDA
Pardon?
ANDYnotices she's brought the· rooro to a screeching halt.
ANDY
My name is Andy. Actually, it's
Andrea, b_ut people call roe Andy.
MIRANDA
What a fantastic story. So
entertaining and full of useful
information.
Everyone stares at ANDY. ANDYtakes .out a notebook.
MIRANDA(cont'd)
The skirt is important. Crucial, in
fact. Women need separates that can.
take thero through all facets of their
day.
She grabs a skirt off the rack. ANDYwatches her.
MIRANDA(cont'd)
This has sequins, but it's denim. It's
of no use to anyone. We need to give
women clear choices about--
{to ANDY)
What are you looking at?
ANDY
Me? .Nothing, I--

MIRANDA
You th.i.n.k you I
re a.bovs. th:Ls r ,don't
you? We're talking about ekirt.s ·and
l.....__.,
.. you're smirking.
 28.

ANDY
I'm not smirking.
MIRANDA
Inside, you're smirking.
And now the room is totally silent. Everyone there has had this
happen to them one time or another, and they're just grateful
this time, it's not them.
ANDY
No, no, no. I'm not. I'm not above
anything. That's my motto. I swear.
MIRANDA
You see that droopy sweater you're
wearing? That blue was on a dress
Cameron Diaz wore on the cover of
Runway -- shredded chiffon by James
Holt. The same blue quickly .appeared
in eight other designers' collections
and eventually made way to the
secondary designers, the department
store labels, and then to some lovely
Gap Outlet, where you no doubt found
it. That color is worth millions of
dollars and many jobs. ~,/.

She smiles at ANDY. Who quakes.

MIRANDA(cont'd)
Your superior attitude is not
acceptable at this magazine. In this
industry. Or in my presence.
INT. APARTMENT NIGHT
ANDY is trying to come down from a day of work. She changes out
of her work clothes into sweats as she rants ...
NATE.watches her, amused.
ANDY
She could be the most horrible person
I've ever met, seen or heard about.
She's not happy unless everyone around
her panicked, nauseous or suicidal.
She pulls an ancient Northwestern sweatshirt over her head.
ANDY (cont'd)
And they all act like they're curing
cancer or something.
(MORE)
 29.
ANDY (cont'd}
(doing MIRANDA'S voice)
"The skirt is important. Crucial, in
fact."
(her own voice)
Reality check, lady, "the skirt" is
just someth:Lng you wear because "the·
jeans" are in the wash.
NATE
You could just not show up tomorrow.
Or ever.
ANDY
I can't give up, Nate. She may be
heinous, but the job is a great
opportunity. I swear to God, though,
what I'd really like to do is go right
up to her and say what I really think.
QUICK CUT TO:
INT. RUNWAY
-- DAY
MIRANDAwalks in.

ANDY
Good morning, Miranda! Nice to see
you.
In response, MIRANDAsimply drops her coat in front of ANDYand
then without ..so much as a glance at ANDY, walks into her office.
ANDY (cont'd)
(under her breath)
••• Me? I'm fine, thanks for asking •.•
INT, RUNWAY--DAY
ANDYbrings in MIRANDA'S scrambled eggs,· served on .china. ·She
just looks at them.·
MIRANDA
Those are freezing.
ANDYalmost starts to say something like "You didn't taste
them," but reigns herself in.
ANDY
I'll get you new ones immediately.
She picks up the tray and carriea it out and, with h<>r back to
MIR.Ah'DA,makes a face of explosive frustration.
 30.

INT. RUNWti.Y-- LATER -- DAY

I

'
ANDY is at her desk on the phone.

ANDY
I'll tell Miranda. Okey-doke.

She hangs up. EMILY gives her a look of disgust.

ANDY (cont'd)
So you're saying No on the Okey-Doke.

EMILY hands ANDY a piece of paper.

EMILY
This is Miranda's itinerary for her
weekend in Miami with Donatella. If
she needs something, she'll call you.
One of the perks of being second
assistant. Make sure you leave your
cell phone on 24/7.
(intensely)
Don't. Mess. This. Up.

On ANDY, apprehensive.

EXT. WEST VILLAGE STREET DAY

We see ANDY'S dad, RICHARD, tall and distinguished, if a few

pounds overweight in a nice suit is ringing the doorbell to
ANDY'S apartment.

1'.NDY appears in the window.

ANDY
Dad! I'll be right down!

·INT. STAIRWELL -- DAY

ANDY walks RICHARD up the stairs. He's already breathing heavy.

RICHARD
I don't usually come to the ConLaw
conference but I figured, what a great
excuse to come see my Andy.

INT. ANDY'S APARTMENT -- NIGHT

jUJDY'S father looks around. Takes in the smallness, the
kitchen/tub setup. Tries not to broadcast panic or despair.

ANDY .J
There's a view.
 31.

She walks him to a spot where if you crane your head and peer
over to the aide you can see a tiny sliver of some buildings.
INT, BLUE RIBBON -- NIGHT
ANDYand her DAD are eating at a restaurant on Sullivan Street.
RICHARD
So tell me more about the job •••
.Your mother and I can't wait to get
your first clips.
ANDY
.Actually, I won't be writing for a
while. It's more doing •••
administrative stuff for Miranda.
Then if that goes well, I can move
up to first assistant and after
that Miranda might put me up for a
better job.
RICHARD
Oh. I see. Might.
ANDY
Yeah, I know, It seems like kind of
a gamble, but I've met people wh.o
worked for Miranda and went on to
great places ••.. th.e New Yorker •.•
He eats his food for a beat, not saying anything.
ANDY (cont'd)
Okay, what? Just say it.
RICHARD
Andy, it's just a little confusing ••••
you.were so gung ho to !IIO'll'eout here
··and you' re not even doing the · thing
you said you.wanted to do.
ANDY
I have to work my way up. I have to
start somewhere. Look, I know you
don't understand, because this is not
your world, but this job with Miranda
is an amazing opportunity ••.
RICHARD
And b,_gra :r: thou.sh·t you..;c O.Qocp:t,O:nQe to
Stanford Law was an amazing
opportunity. ·
 32.

ANDY
Dad--
RICHARD
That school is so hard to get into and
you're throwing that away--
ANDY
Dad, you're a lawyer, your father was
a lawyer and your brother, we have
enough lawyers in our family.
RICHARD
Then why did you even apply?
ANDY
Because it's what you wanted me to
do. And that's all I've ever done,
my whole life -- what you thought I
should do. Well, this is what l
want to do. Finally.
RICHARD
so. this is your dream, getting
coffee for fashion editors?
ANDY
If I was getting coffee for senior
partners, would that make you feel
better?
RICHARD
Yes, as a matter of fact. Because
the law is intellectual, it's
substantial, it's --
Just then the cell phone rings. ANDY looks down at it.
ANDY
It's Miranda.
ANDYpicks up her cell phone.
INT. MIAMI INTERNATIONALAIRPORT -- NIGHT
MIRANDAis surrounded by crowds heading home for the weekend.
MIRANDA
My flight is cancelled ...
She starts moving through the airport.
 33.

MIRANDA(cont'd)
I have to get home. Tonight. The twins
have a recital at school tomorrow
morning that I can't miss.
INT. BLUE RIBBON -- NIGHT
ANDYtries to hear through the noise of the restaurant.
ANDY
Hold on. I can't hear her.
(to RICHARD)
This will just take a second.
She trots outside the restaurant.
EXT. BLUERIBBON-- NIGHT
Through the window, we see RICHARDeat alone. QUICK CUTS of ANDY
on the cell phone.
ANDY
There must be something •••
(jump cut to) .
I've tried that airline already. Let
me talk to your manager. ·
'\__. (jump cut to)
Call me back if there's a
cancellation.
( jump cut to)
I'm sorry, Miranda. I'm doing the best
I can. Apparently, there were a lot of
big conventions in town and-~ Of
course I'll keep trying •••
EXT, STREET-- NIGHT
ANDYand RICHARD are standing outside the Minekoff Theater where
Fiddler on the Roof is playing.
The crowds atream in. ANDYii!! still on the phone. RICHARDwaits,
tickets in hand.
ANDY
Sir, it's very important that she get
a seat on that flight •••.. Bold on ••. •
(she switches over)
Miranda, it's just that al.l the
charter companies are closed and ••.
Hold. on.
· (she switches over again)
I'll call you back. Please talk to
your supervisor again.
(MORE)
 34.
ANDY (cont'd)
(she switches back)
Miranda? Hello? Darranit. ___/

She starts frantically dialling.

RICHARD
Andy, stop this. It's Sunday night,
for Christ's sake. Enough is enough.
The show is starting. Let's go.
l'l:e tries to walk her into the theater.
ANDY
Dad, I can't.
RICHARD
Yes, you can. You did the best you
could. You couldn't get her what she
wanted. What she wants is impossible.
She looks at him.
RICHARD (cont'd)
Let's just go in, okay? I haven't seen
you in so long ...
ANDYhesitates •••
ANDY
Okay, fine.
Reluctantly, she puts her phone in her purse. And as she walks
in the theater with her Dad ...
RICHARD
And anyway, Andy, really. It's not
your fault. How angry could this woman
be?
:INT. MIRANDA'S OFFICE -- DAY
•ro the brightness of MIRANDA'S office. MIRANDAstands by the
window. ANDY stands there, cowed.
MIRANDA
The girls' recital was great. They
played Rachmaninoff and everyone loved
it. Except for me ..• because I was not
there.
ANDY
I'm so sorry, Miranda. You have no
idea.
 35.

MIRANDAturns away from the window to look at ANDY.

(_.·
MIRANDA
Do you know why I hired you?
ANDYshakes her head. MIRANDAturns .to face her.
MIRANDA(cont'd)
I always hire the same girl, stylish,
worships the magazine. And they turn
out to be disappointing and stupid.
She smiles. That smile that pierces .l\NDYto the core.
MIRANDA(cont'd)
But you, with your great resume ••. I
thought you would be different. I
thought, go ahead, hire the smart, fat
girl •••
ANDYeyes widen (she's not even remotely fat, of course.)
MIRANDA(cont'd)
I thought I was being clever. But it
turns out you are just as
{
disappointing as those other girls.
\.,_ .. And the only person I have to blame
for your ineptitude is myself, for
hiring you.
ANDYis frozen where she sta.nds.
MIRANDA{cont'd}
You stranded me in the middle of
nowhere when my children needed me.
ANDY
If there was a way, any way I could
make it up to you--
MIRANDA
;i:'hat's all.
And she goes back to her work. ANDYstands there a second, then
leaves. And we see her eyes start to well.
INT. RUNWAY DAY
ANDY.runs dawn the hall, biting back tears. She crosses paths
with N:CGEL, who aees "'Che e2prs.«;:u,i..on on h-GtX"£acA and. J;iulls hEl!r
into his office.
 36.

INT. NIGEL'S OFFICE -- DAY

NIGEL closes the door. She looks at him, lips trembling.

NIGEL
Let me guess. You were trying not to
cry the whole time you were with her?
And she promptly bursts into tears. He puts his arm around her.
NIGEL (cont'd)
Wow. So been there.
ANDY
No matter what I do, I can't please
her. I've always done well at anything
I applied myself to, but this is so
hard. She's just so scary and horrible
and frightening and scary.
She sniffles, blows her nose. He looks at her.
NIGEL
Are you done?
What?
NIGEL (cont'd)
You want me to say, oh, poor you,
Miranda is picking on you? Get real,
Cincinnati. Miranda Priestly is
impossible. Always has been, always
will be. Your job is not about
pleasing her. It's about surviving
her.
He studies her.
NIGEL (cont'd)
Andy, I've seen a lot of assistants
come and go. And you've got talent --
you're bright and hard-working. But
you're not committed to this job. I
bet you don't even read the magazine.
Beat. He looks at her.
NIGEL .(cont'd)
Andy, if you want this, start giving
this your all. Be who Miranda needs
you to be. Or else ••• quit.
 37.

ANDY
"._..· Nigel, I don't want to give up. I
don't.
NIGEL
Then ••• what do you say? Are you in or
are you out?
ANDY
I'm in. I'll do what it takes. I·
swear ..

He looks at her.
NIGEL
Well, if that's the case .••
ANDY
Oh no •••.
NIGEL
Andy •••.
ANDY
Isn't there another. way?
He shakes his'head •. And she realizes he's right. She sighs.
NIGEL
. ,Go ahead. Say it. Say the words.
ANDY
I can't. Please. Eave mercy.
NIGEL
Say it. Say those three little words
I've been dying to hear since I roet
you.
ANDY
(goddamn it)
Okay, fine. Make me over.
INT. CLOSET -- DAY
With a grand gesture, NIGEL swings open the door to •••
••• a large room that's like a treasure cave, piled high with
shoes, bags, clothes, furs, jewelry.
NIGEL
The best fashion has to offer. And we
get the first look at everything.
 38.

ANDY gapes, looks around the closet.

._/
ANDY
How are we going to do this? I only
have eleven minutes left on my lunch
break.

NIGEL
Don't worry. My record is four minutes
head to toe.

She sees a beautiful, expensive beaded gown in the corner.

ANDY
Look at that.

She walks over to it, amazed.

ANDY (cont'd)
That's a James Holt. James Holt. Even
I've heard of him.

NIGEL
He's a genius. owes everything to
Miranda. That's Emily's dress for the
benefit at the museum in September.

ANDY
Do I .•• get to go to the benefit?

NIGEL
(laughs)
First you don't want shoes, now you
want a ball gown.
(shakes his head)
Only the first ass.istant goes to the
benefit.

NIGEL begins picking things out •••

NIGEL (cont'd)
Okay. Here we go.

He starts flinging clothing at her.

NIGEL (cont'd)
Christian Dior fitted blazer •.• skirt
by Tracy Reese ••. a little denim mini
from Chip & Pepper ... Clement Ribiero
cardigan •.•

Fling fling fling .... ANDY catches them.

 39.

INT. RUNWAY - - DAY

ANDY, carrying her armful of clothing, is rushed down the

hallway into •••

INT. BEAUTY DEPARTMENT -- LATER

~..NDY is seated in front of a mirror, her hair and make-up being

fussed over by so many people we can't even see her.
INT. RUNWAY DAY
EMILY _is on ~he phone.

EMILY
I have no idea why Miranda hired her.
(she sighs)
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 a~d pretty.
She looks grown-up, sexy and above all sophistic.ated.
EMILY (cont'd)
{voice trailing)
--'-disaster.
Just then MIRANDA'Svoice sails out.
MIRANDA
An-dre-a.
ANDYsmi.les at EMILY. And walks into MIRANDA'S office.
INT. MIRANDA'S OFFICE
MIMNDA has her back turned, looking at some photos on a.light.
box in her office.
MIRANDA
I need these three blown up and
printed onto--
And just then she glances over at ANDY. The transformed ANDY.
And she gives ANDYan almost imperceptible nod· of approval.
Tb.en she quickly goes baok to what she was doing, her back
turned to ANDY.
 40.

MIRANDA(cont'd)
--and tell him it's too saturated with
yellow, we need to bring up the pinks--
And behind her, ANDY smiles.
INT. CAFETERIA -- DAY
ANDYstrides in. Heads turn. Is that the same girl?
ANDYwalks confidently under their stares and heads over .•.
.•• to the soup station. Where she proudly ladles out some corn
c:howder and puts it on her tray.
INT. RUNWAY-- DAY
ANDYpicks up the phone.
ANDY
Miranda Priestly's office .
•.. we pull out to see that while rolling calls, ANDY is also
:Ei:.ing things, doing a spread sheet and unwrapping presents.
She covers the receiver, holds up a box to .show EMILY.
ANDY {cont'd)
Charlie Rose gave Miranda a phone for
her birthday.
She holds up an expensive, fancy Bang & Olufsen phone.
EMILY
A phone. How tacky. Get rid of it
before she sees it.
ANDY
How do I do that?
INT. MCSORLEY'S -- NIGHT
ANDYjoins her friends and NATE. ANDYplops the phone on the
table.
But everyone barely looks at the phone. They're all pre-occupied
by her appearance.
·NATE
Wow.
)
·._/
 41.

ANDY
I know. Awesome phone, right? Bang &
Olufsen. Emily said I could keep it.
She keeps nattering happily.
ANDY (cont'd)
Hillary Clinton sent a birthday
present. And Nelson Mandela. And Lil'
Kim.
And as they continue to stare.
LILY
I can't believe this .is you. The girl
who wore the same sweater for three
years in college.
LILY looks at ANDY'S jacket.
LILY (cont'd)
Is that Chanel?
ANtlY
Don't be silly.
(almost under her breath)
~t•s Balenciaga. Anyway, it's just a·
few clothes for work. So I don't stand·
out.
DOUG
Wait.' So all the girls there look like
that?
ANDY
No. They're prettier. And thinner;
DOUG
Dammit, I love your job.
She reaches into her bag.
ANDY
I have more stuff.
She hands out perfume, cosmetics, belts. DOUGpicks.up one of
the perfume bottles and is about to spray it on·his hand.when
ANDYstops him.
ANDY (cont'd)
It's called "Pink". For women.
 42.

DOUG
Men can be pink. I have a pink side.

LILY
Please. We're eating.

ANDY
You know who's coming into the office
Friday? John Updike.

NATE
Why, does he need pants?

ANDY
No, Smart Ass. The magazine publishes
some great writers.

LILY
Oh, yeah. Their article on the denim
mini changed my life.

They all laugh.

ANDY
(a bit peeved)
Just because it's a fashion magazine
doesn 't mean it can't be credibl.e.
Miranda has covered some real stories,
AIDS in Africa, domestic violence,
teenage drug abuse.

NATE shakes his head.

NATE
I think you're really starting to
drink the KoolAid.

Just th.en ANDY• S cell phone rings. NATE grabs it.

NATE (cont'd)
Let me guess.

ANDY
Give me the phone.

He checks. The name on the phone: MIRANDA.

NATE
It's the Dragon Lady herself.

ANDY
Give me the phone.
 43.

ANDYgrabs·for the phone. NATE tosses it to DOUG.

DOUG
I'll talk to her. Tell her she needs
to get her own scrambled eggs.
ANDYpractically tackles h:i.m, grabs .the phone away.
ANDY
Come on, guys. Give me the fucking
phone!
They are all stunned by her vehemence. Including .ANDY.
ANDY (cont'd)
(into phone)
Hello, Miranda.
INT. TOWNCAR -- NIGHT
MIRANDAis being driveri home.
MIRANDA
I need a messenger to pick up some
sketches from James Holt.
INT. 'RESTAURANT
-- NIGHT
ANDY on the phone.
ANDY
I'll take care of it myself·. Don't
worry about it. I'm leaving right now.
she hangs up.
.ANDY (cont'd)
You guys didn't need to be such
assholes.
And she exits. And all her friends exchange a look.
EXT. ELIAS-CLARKE -- NIGHT
ANDYruns into Elias-Clarke.
EXT. TRIEECA STREET -- NIGHT
ANDYpulls up in front of a loft building in Tribeca in the town
oar~

\.._...·
 44.

INT. LOFT -- NIGHT )

ANDYrings the buzzer. No answer but she can hear VOICES behind
the door. She pushes it and it opens.
Inside she sees an industrial-style 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, and there she is. She walks
over to one of the super hot women adorning the party.
ANDY
Is James Holt here?
She points to a handsome man by the window. JAMES HOLT, one of
the top designers, 40's, muscular, tan, dressed impeccably.
ANDYwalks over to him.
ANDY (cont'd)
Hi, I'm Andy. I'm picking up some
sketches for Miranda Priestly.
JAMES
You must be the new Emily. Let me see.
He checks her out.
JAMES (cont'd)
Shrunken blazer with a long-sleeved
chiffon blouse. That outfit has Nigel
Kipling written all over it.
He hands her a folio with a handle.
JAMES (cont'd)
You work for Miranda, you must be in
desperate need of hard liquor.
ANDY
No, I--
JAMES
I insist. Come on.
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)
Don't get me wrong. I worship Miranda.
She practically invented me.
(to the BARTENDER)
She'll have the punch.
(MORE)
 45.

JAMES {cont'd)
(hands her the punch)
It's deadly. Have funJ
And he walks away. ANDYclutches the glass of punch.
CHRISTIAN
He's right. I had the punch at James's
last party, woke up in Hoboken with my
pants wrapped around a telephone pole.
She looks over. sees a great-looking, sophisticated man in his
30's who has an air of mischief.

His name is CHRISTIAN HARPER •.

ANDY
I don't want to be rude to him, but I
want to go.
CRRISTIAN
No, you don't. You're looking
around .•• you're intrigued, even
titillated. .
ANDY
God, I love it when total strangers
tell me how I feel.
f
\ .
··
~ .....

He laughs.
CHRISTIAN
Christian Harper •. Sorry £or being so
editorial.
(holds up his glass)
I blame the punch.

ANDY
Christian Harper? The writer?
(he nods)
You write for every magazine I love.
Your New Yorker piece on Al Sharpton
that won the National Magazine
Award ..• I. actually wrote a paper on
it senior year.
CHRISTIAN
Did it mention my good looks .and
killer charm?
ANDY
No, ]?ut it did :ment.:Lon a :few £aet:tial.·
errors and your unfortunate insistence
on using second person plural.
 46 ..

CHRISTIAN
(laughs}
And what do you do?

ANDY
I work for Miranda Priestly.

He shakes his head.

CHRISTIAN
You're never going to make it.

ANDY
Excuse me?

CHRISTIAN
You're smart, you're nice, you have a
point of view. You can't do that job.

ANDY
You know nothing about me. You have no
idea what I'm capable of.

ANDY hands him her glass of punch.

ANDY (cont'd)
If you'll excuse me, I have to go.

She starts to leave.

CHRISTIAN
Let me guess. You have a boyfriend
waiting. From. . • not high school ..••
college? Moderately handsome 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!

.This doesn't cause him to turn around, though it does ..cause a

few other people to stare. ANDY walks away, embarrassed.
 47.

L, EXT. APARTMENT-- NIGHT

ANDY'S walking back towards NATE'S apartment holding the folio.

She crosses paths with NATE.
NATE
So you got the nuclear briefcase from
the undisclosed location. I'm proud of
you.
ANDY
(surprised)
Where are you go{ng?
NATE
Doug and some of his yahoo friends are
playing Texas Hold 'Em at his
apartment. I'm gonna go get me some of
that Wall street money.
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?
ANDY
Nate, hold on a second.
Just .then NATE'S cell phone rings. NATE picks up ..
NATE
Hello?
(the way ANDYtalks to
MIRANDA)
Sure, Doug! I'll get on it ASAP! A six-
pack? No problem. Dutch .or Ge=an?
ANDY1ooka at.h:Lm, hand on hip.

ANDY
Very funny.
 48.

NATE
(into phone)
And what temperature would you like it
to be exactly?
He waves to ANDY and walks away.
INT. APARTMENT-- EARLY MORNING
It's pitch black outside and NATE is fast asleep •..
... but ANDYis already awake, getting ready. And it's a more
complicated process now, selecting just the right outfit,
applying make-up ...
INT. OFFICE -- LATER -- DAY
We see MIRANDA. She is studying a pile of sketches from the
folio ANDYpicked up the night before.
INT. RUNWAY
-- DAY
ANDYis putting away dishes in the kitchen when MIRANDAappears.
MIRANDA
Where's Emi.ly?
ANDY
She went down to production, but
anything you need, Miranda, I'm on it.
MIRANDA
You're not going to sing, are you?
ANDY shakes her head. No. And MIRANDAsighs. I guess you'll do.
She hands ANDY a piece of paper.
MIRANDA(cont'd)
I need you to pull these back issues.
INT. TOWNCAR -- DAY
MIRANDAand ANDY ride along in heavy traffic. MIRANDAis tapping
her foot, impatient. Finally she leans forward to ROY, the
driver.
MIRANDA
Just let us out here.
s.he gets out • .!'.NDYscrambles to grab her stuff and follow.
 49 •

. EXT. DOWNTOWN
STREET -- DAY
MIRANDAsails down the street. MIRANDAwalks fast, weaving in
and out of pedestrian traffic like a sports car on the Autobahn.
ANDY, in her heels, carrying a stack of heavy magazines, races
after ·her, Not easy.
Suddenly MIRANDAdisappears from ANDY'S line of vision.
ANDY
Shit. Shit shit shit.
She finally sees MIRANDA, crossing the street.
ANDYtries to follow, ·stepping into the street without looking
both ways as •••

••• a car misses her by inches. The DRIVER leans out and
unleashes a string of Jersey-inflected swear words.
No time for ANDYto recover. she takes off after MIRANDA.
EXT. TRIBECA STREET -- DAY
ANDYrealizes they're on JAMES HOLT'S street. She catches up
with MIRANDA
'
as she enters
'
the building.
INT. LOFT -- DAY
MIRANDAwrangles the heavy .door to the loft elevator like a·
longshoreman. ANDYhesitates, unsure if she's per:mitted to be in
the elevator with MIRANDA.She sighs. ·
MIRANDA
Okay, fine. since we're in a hurry.
INT. ELEVATOR-- DAY
Beat. MIRANDAand ANDYride up together.
ANDY
Interesting building. Last time I was
here, James was having this party and--
MIRANDAlooks at her.
ANDY (cont'd)
--and this is why you don't like to
ride up in the e1evator.w~th pGop1G.

MIRANDAsmiles a tight little smile, Precisely.

 50.

INT. LOFT -- DAY

MIRANDAsweeps in. Her entrance is a surprise. JAMES HOLT runs
aver to greet MIRANDA. His ASSISTANTS stop what they're doing
and try not to openly stare.
MIRANDAand JAMES embrace.
JAMES
An impromptu visit. You are full of
surprises--
MIRANDAplaces an envelope onto his desk.
MIRANDA
The sketches you sent me. For fall.
MIRANDAwalks around, looking at the pieces on the mannequins. A
hodgepodge of unfinished items.
JAMES
I was trying to capture the
intersection of East meets West. The
modern woman as Geisha meets rock star
with a little Desperate Housewives
thrown in.
MIRANDAstops in front of a red dress with too many flounces and
flourishes -- and eyes it critically.
JAMES (cont'd)
But obviously, the collection is still
a work in progress.
MIRANDA
Actually, no, it isn't, my love.
He looks at her. I beg your pardon?
MIRANDA(cont'd)
You are not going to produce this
line. If you do, I will not put any of
it in the magazine, nor will you get
any department store orders.
JAMES
Miranda, I know the collection is edgy-
MIRANDA
I'm looking through the pieces
thinking kimonos, motorcycle jackets,
gingham •••
(shakes her head)
(MORE)
 51.
. MIRANDA(cont'd)
Most of it, I don't get at all. What I
do get, I don't like. I cannot let you
do this to yourself. Or to me. My
reputation is on the line here too.
ANDYwatches JAMES. The whole room is pin-drop silent.
MIRANDA(cont'd)
I gave you editorial coverage before
anyone else. I made people take notice
of you. I was the only editor in the
front.row of your first show in that
warehouse at the pier. In.the front
row, clapping.
MIRANDAsteps closer to JAMES, puts a hand on his shoulder.
MIRANDA(cont'd)
I remember every piece of that first
collection. The swing of the chiffon,
the vibrance of the embroidery.
She walk.a over to ANDYand takes the pile of magazines. Throws ·
each on the table in front of JllMES as she talks.
MIMNDA (cont'd)
September 1997, you revolutionize the
hemline, March 1998, you bring back
.femininity out of that horrible monk·
phase, June 2000, you're the first one
to do the watercolor florals and
February 2002, you radically rethink
the empire waist.
She leans.into him.
MIRANDA(cont'd)
Your .don't just dress a woman, you
embrace her, give her the love she
might never get from a real.man.
And now the room is dead silent, everyone rapt.
And MIRANDAis no longer remote. She's talking about something
she loves and it's written all over her. We see ANDY, watching
this change in her.
MIRANDA(cont'd)
You make a woman feel powerful,
special,.beautiful. Even if she ia
none or those things. Her Iir&t day on
the job, her wedding, her first date,
you are there for all the important
moments of a woman's life.
(MORE)
 52.

MIRANDA (cont'd)
That is what you were put on the
planet to do. This, on the other hand--

She gestures the collection.

MIRANDA (cont'd)
--is just plain bad. Burn it. Think of
something else. I know it will be
divine.

And with that, she gives him another kiss and sweeps over to the
elevator. ANDY scoops up the RUNWAYSand follows.

JAMES
Miranda--

She turns.

JAMES (cont'd)
Thank you.

She nods. Eas no vanity at all about what she said. She exits.

And as MIRANDA goes, one of BOLT'S ASSISTANTS bursts into

applause. A few others join in. JAMES glares. T.hey stop.

INT. NATE'S APARTMENT -- NIGHT

NATE cooks for ANDY -- he's a chef, and he makes a regular old
grilled cheese look absurdly enticing. She digs in, starving.

NATE
I think it sounds shitty.

ANDY
It was kind of harsh, but she was
being honest. .And she really inspired
him. Look, she is tough, but she gets
results. She has the best book in the
business.

NATE
Oh, really? The best book in the
business. Well, that's justifies being
a flaming bitch.

ANDY
I'm just saying •.• she's just as tough
on herself. When I get in to work at
7:30, there's already a bunch of
emails from her, .starting at 5 AM and
the book is back in the office with I
her notes. I've never seen anyone, so ·~
dedicated.
 53.

NATE
You know, I think you're developing a
nasty case of Stockholm syndrome,
where people identify with their
captors, It's like you want to be her
now.
ANDY
Would that be so bad?
He looks at her, Are you serious?
ANDY (cont'd)
I mean, she can eat as many grilled
cheeses as she wants and not gain a
pound.
Ee shakes his head.
ANDY (cont'd)
Nate, come on. It's me. Same old me.
With better outfits.
NATE
I likeq. your old outfits fine.
She gives him a look.
ANDY
So you don't ••• like my new clothes,
He shrugs. She looks at him.
ANDY (cont'd)
Really? What about this, This is brand
new.
She gestures to her shirt. Starts unbuttoning buttone, revealing
a bra that costs more than her entire previous wardrobe •.
NATE.
Okay, that I like.
She laughs. Then he kisses her, picks her up and carries her
away from the table.
And just then ANDY'S cell phone rings. And they look at each
·other. And both know she's going to get it.·
INT. .RUNWAY -- DAY

EMILY'S at her desk in the morning. J\NDYwalks in and EMILY

immediately pulls her aside.
 54.

EMILY
Oh, good. You're here. I need to talk
to you.

ANDY
Oh my God. What's wrong? I know. I
didn't get her cranberry bliss bar
yesterday, but they were all out and--

EMILY
That's not it.

ANDY
Is she mad about the thing with
Lagerfeld? I swear I had no idea he
was allergic to camellias.

EMILY
Andy, stop.

ANDY
If it's about the time I referred to
Proenza Schouler as she, I get it now.
They are two men.

She finally stops to take a breath. -_,;

I

EMILY
Andy!

ANDY stares. What?

EMILY (cont'd)
Miranda told me you can start doing
the Book.

ANDY'S eyes go wide.

ANDY
You're kidding me. Wow. That means I
must have done something right. How
about that?

She smiles, very pleased.

EMILY
(deadpan)
Yeah. Whoopee. Okay, now •..
She leans forward.
 55.

EMILY (cont'd)
\_.• It's very important that you do
EXACTLYwhat I'm about to tell you.
ANDYnods, listening.
.FLASHFORWARD
TO:
'.i:.NT.RUNWAY
-- NIGHT
We hear EMILY'S voiceover as we see this happening.
EMILY (V.O.)
You wait at the office until all the
department heads have submitted their
pages and the book is assembled.
We see ANDY, waiting. The area around MIRANDA'S office is
totally quiet.
INT. MIRANDA'S OFFICE -- NIGHT
ANDYdrifts in and looks at MIRANDA'S office -- the pictures of
.her with everyone from Desmond Tutu to Paris Hilton.
Then ANDYwalks over ·to MIRANDA'Spristine white couch. Sits on
it. Hell, why.not. Lies down on it. Gingerly. Then--
INTERCOM
(loud)
Book' e ready!
And she jumps off the couch like she's been caught naked.
INT. RUNWAY
-- NIGHT
An editorial ASSISTANT brings ANDYThe Book. It's heavy.
EMILY (V.O.)
Then you take Miranda's dry cleaning
from the closet. ·
We see ANDYdo this -- about a.dozen garments on hangers.
· EXT. ELIAS-CLARKE -- NIGHT

ANDYwalks· out, trying to juggle The Book and the dry cleaning.
EMILY (V.O.)
A car wi11 be waiting for you.

\.._ I
ROY opens the .door for ANDY.
 56.

INT. TOWN CAR -- NIGHT

ANDY whisks across town. It's late, the streets are quiet.

EXT. CENTRAL PARKWEST -- NIGHT

ANDY swings down the street, feeling pretty confident.

EMILY (V.O.)
When you get to the apartment, the
doorman will have your name and he'll
let you up.

INT. MIRANDA'S LOBBY -- NIGHT

1:he Beresford, a white-glove co-op building on 81st and Central

Park West. The DOORMANdirects ANDY into the elevator.

EMILY (V.O.)
All you have to do is open the door,
step into the foyer, hang the clothes
on the hook and leave the book on the
table.

INT. ELEVATOR -- NIGHT

The ELEVATOR MAN lets ANDY aboard, presses the button for the
penthouse.

EMILY (V.O.)
The important thing is: just do those
two things and leave. Don't talk to
anyone. Don't look at anyone. Miranda
does not want you to disturb her
evening in any way.

FLASH BACK TO:

INT. RUNWAY-- DAY

ANDY looks at EMILY.

EMILY
You sure you got all that?.

ANDY
Of course. Book, dry cleaning,. hook, a
monkey could do that.

She smiles.·

FLASH FORWARDAGAIN TO:

 57.

\
,INT. ELEVATOR-- NIGHT
ANDYwaits. The Book and the dry cleaning are heavy. She tries
to adjust the weight.
INT, HALLWAY
-- NIGHT
.l\.NDYsteps into the' hallway, dimly lit, with high ceilings and
huge mouldings. MIRANDA'S door is at the end of the hall.
And for some reason, ANDYfinds her heart is racing;
She opens the door.
INT. MIRANDA'S FOYER -- NIGHT
In contrast to the blinding brightness of MIRANDA'Soffice, her
apartment is dark, shadowy. The ceilings are ridiculously tall,
ANDYsteps inside, her footsteps echoing through the foyer.
ANDY . .
••• dry-cleaning on the hook •••
She looks up. sees a hook. And is about to hang it. When she
sees another hook. Or is that a sconce? She.scans the.hall.
Wait, no, that's the hook.;. No, is that a gargoyle?
She picks the one that looks most like a .hook, Hangs the dry
cleaning. So far, no disasters. She lets out a breath of relief,
ANDY (cont'd)
••• book on the table •••
And you guessed it, There are two tables.
ANDY (cont'd)
Shit.
suddenly she hears a noise. It's a girl of about 8, walking into
the foyer. One of MIRANDA'S daughters, CASEY, carrying a violin
and a bow,
ANDYfreezes. At first CASSIDY'S face is blank. But then ANDY
smiles. So CASSIDY smiles.
CASSIDY
Eli.
ANDY
Hi,
And CASSIDY points to one of the tables, using her bow.
 58.

ANDY (cont'd)
Oh my God, thank you.

CASSIDY smiles. The briefest of moments between them and •..

.•• and suddenly they hear voices. MIRANDAand her husband,
STEPHEN are in the living room, a sliver of which is visible
from the foyer. Their voices are low but we can hear .••
MIRANDA
What did you want me to do? Walk out
in the middle of a photo shoot?
STEPHEN
I sat there 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 in the hall is
ANDY, frozen. With CASSIDY smiling at her.
And before ANDYcan stop herself, her eyes float over to
STEPHEN'S. Eye contact. Her heart does a flip. And her eyes dart
over to MIRANDAand they make eye contact as well ...
... and MIRANDAgives ANDY a look of utter coldness, disgust and
:judgement, harsher than any look ANDYhas gotten in the office.
:CNT. ELEVATOR-- NIGHT
ANDYgets in, heart pounding.
:INT. NATE'S APARTMENT-- NIGHT
ANDYcrawls into bed next to NATE. He takes her arm and wraps it
around himself.
NATE
You're shaking.
ANDY
I'm ... I'm okay.

But she's unable to relax, or even to close her eyes.

 59.

IN'r. RUNWAY
-- DAY
ANDYwalks in, already bracing herself,' and runs into EMILY,
emerging from MIRA!ilDA'Soffice, very upset.
ANDY
·okay, before you start freaking out,
it wasn't such a big deal. Cassidy
said hello, I said hello back, then I
glanced into the living room--
EMILY
You glanced? Why were you glancing?
Who said anything about glancing?
ANDY
You're right. I made a mistake. I
don't know what I was thinking, It waa
so stupid.
EMILY
You can't do things like this to me.
If she fires you, that'll jeopardize
Paris for rne.
ANDY
She's going tc 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 •
.ANDYand EMILY exchange a 1.ook. oh I boy.
INT. MIRANDA'SOFFICE _;_ DAY
ANDYwalks in, apprehensive.
ANDY
I'm really, really sorry Miranda.' I
was nervous and I--
MIRANDA
I need the new Harry Potter book for
the twins.
ANDY
um..• great. I'll just run down to the
bookstore and-- ·
 60.

MIRANDA
Did you fall and smack your head on
the pavement?

ANDY
Not that I can recall.
MIRANDA
We have all the books. girls want
to know what happens I heard the
manuscript just crune And the girls
need something to read on the train to
their Grandmother's.
ANDY
Fine. No problem.
MIRANDA
Oh, and one more thing ..• There will
be no more second chances.
INT. RUNWAY
-- LATER
ANDYpaces, panicky. EMILY watches her.
ANDY
I see, so the publisher is in
London •.. can you give me that number?
It's for Miranda Priestly.
(jump cut to)
What is it for? We're doing a layout
on, um, sorcery-inspired fashion •••
( jump cut to)
Yes, I understand. Thank you.
ANDY (cont'd)
There's no way I can get that book by
early afternoon. She's after me,
Emily. She wants to fire me. She's
just prolonging the kill. Like an evil
cat with a tiny little unfashionable
mouse.
EMILY
Oh look, you're getting paranoid. Yay.
It's not just me.
Just then they hear:
MIRANDA
An-dre-al
 61.

INT. MIRANDA'S OFFICE -- DAY

ANDYwalks in.
MIRANDA
I'd like my steak.
ANDY
Smith .and Wollensky' s doesn't open
until 11:45--
MI:RANDA
Maybe we should call Cassidy and ask
her to take care of it, since she did
your job for you last night.
She smiles. The scary smile .
.EXT. SMITH ANDWOLLENSKY'
S -- DAY
.!INDYflies into frame and raps on the door of the.closed
restaurant,. MARTY, the MANAGERwalks over, recogn,izes her.
He unlocks the door, letting her in.
INT. SMITH AND WOLLENSKY'S-- DAY
From the bar, ANDYwatches 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.
She hangs up. MARTYlooks at her.
MARTY
What an amazing job, working for·
someone like.Ms. Priestly.
ANDY
It is amazing. Lots cf fun~ And filled
with interesting challenges--
And out the window something.catches ANDY'S eye •••
We see what ANDY'S looking at-~ the newsstand right outside the
restaurant ••• The current issue of the New Yorker is featured
out front and: ANDYsees t:he byline,
•
Cl!Rl:STL!'>N l:!Al'\PE'.R.
• I
 -- - ----------

62.

INT. CHRISTIAN'S APARTMENT-- DAY

A very chic, very masculine apartment in the Village. CHRISTIAN
is writing at a laptop when his phone rings.
We intercut between him and ANDYon the street.
CHRISTIAN
You're kidding, right? No one can get
that book. They guard that thing like
Fort Knox.
ANDY
I thought you knew everyone. Can't you
think of something?
CHRISTIAN
It's impossible. Just tell her.it
can't be done, Miranda Girl.
ANDY
Eave you met Miranda?
CHRISTIAN
.I'm sorry.
. __/
ANDY
That's okay. Thanks anyway.
l"NT. RUNWAY
-- DAY
ANDYruns down the hall with MIRANDA'S food. She passes 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.
ANDYignores her, racing around getting the dishes and
silverware for MIRANDA'S steak.
INT. MIRANDA'S OFFICE -- DAY
We see the steak, prettily arranged on MIRANDA'S china. ANDY
sets up the salt and pepper.
MIRANDAwalks in. When MIRANDAsees the steak, she freezes.
 63.

MIRANDA
What is that doing here? I ordered
this hours ago.
1\:NDYlooks confused. Hours?
MIRANDA(cont'd)
Luckily, before I sta:i::ved to death,
Irv invited me to lunch. I will be
back at exactly 2:15. I want my.order
from Starbucks to be here. ·
She gestures to the steak.
MIRANDA(cont'd)
Get rid of that.
And before she exits •••
MIRANDA{cont'd}
If you don't have the Harry Potter by
then, don't bother coming back.
INT. KITCHEN -- DAY
ANDYcarries. 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.
INT. STARBUCKS-- DAY
ANDYis on the cell phone. She watches MIRANDA'S coffee drink
being made.
ANDY
Come on. Please. You must know
someone .••
(to the BARRISTA)
Can you make it extra hot? Like,
center of the sun hot?
The BJl.RRISTAgives her a look .•
ANDY (cont'd).
Sorry, my boss is particular.
(i.nto phone)
Are you sure? You're my last shot.
~-· (sighs) ·
All right, well, thanks for _trying.
 64.

She hangs up. The BARRISTA hands her the coffee.

BARRISTA
Sounds l~ke a great job you have
there.
ANDY
Actually, it is. It's a fantastic job.
A million girls would kill for it.
And she starts to laugh. The girl stares at her.
EXT. STARBUCKS DAY
ANDYwalks 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 out the stuff from Starbucks to people . ·->
on the street.
INT. KITCHEN -- DAY
NATE on the phone. Intercut with him and ANDYon 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
Holy shit. Well, good for you.
Congratulations. You're free.
ANDY smiles, hangs up, and immediately her phone rings again.
She looks down. Assuming it's NATE.
ANDY
Hello?

CHRISTIAN (O.S.)
I'm brilliant. Really. Monuments
should be erected in my honor.
 65 •

WE INTERCUT
Between ANDYon the street and CHRIST.IANin his office.
1\NDY
You didn't.
CHRISTIAN

.ANDY
No. That would mean I actually. • .. did
something right.
CHRISTIAN
A friend of a friend ie .doing the
cover art. You can meet her at her
office this ·afternoon and make a copy.
Ii.NOY just stands there, stunned.
CHRISTIAN (cont'd)
Hello? Andy? What's wrong?
ANDY
'
1,
The thing ••. See, I was about to.a.
CHRISTIAN
(groans)
Don't tell me you don't. want the .bo.ok
now. I had to make love to a woman the
size of a file cabinet to get it •••
And we see ANDY. She looks up at the Elias-Clarke building,
teetering on a precipice.
CHRISTIAN (cont'd)
Do you want this or not?
·on ANDY, breathless--
EXT. STREET -- DAY
ANDYruns down the street.
:BXT. STREET -- DAY
,!sNDYruns out of an apartment building holding a large envelope •
.EXT. STREET -- DAY

,ANDYstands outside a Kinko's. She's on the phone.

 66.

ANDY
I'm begging you. You have to stall
her. Just ten minutes.
INT. TOWNCAR -- DAY
We see ROY, driving MIRANDAand IRV back from lunch; He hangs up
the cell phone. Then he turns down a side street.
MIRANDAcatches his eye in the mirror. What the hell?
ROY
Um••• too much traffic on 5th. Putin's
in town.
MIRANDAmakes an annoyed face.
INSERT
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--
MIRANDA,looking at the envelope.
And then we see ANDY. She stands there, quiet, calm.
And if MIRANDAis amazed by what ANDYdid, 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 cooies. And had
them color-copied, re-;et and bound so
they wouldn't look like manuscripts.
She smiles. MIRANDAnods, but still won't concede the point.
MIRANDA
And where exactly are those fabulous
copies? I don't see them anywhere.
QUICK CUT TO:
INT. TRAIN -- DAY

The MetroNorth from New York City to Bedford.

 67.

In the front ·row, we see two matching pa.ire of tretorns, Seven

:jeans, pink Izods and hello Kitty barrettes ..•
..• and two matching Harry Potter manuscripts, every bit as
professional-looking as ANDYdescribed them •..
••• being eagerly devoured by CASSIDY and CAROLINE on their way
ta their Grandmother's. A NANNY sits beside them.

CUT BACKTO:
INT.' OFFICE -- DAY

,I\NDY picks up the envelope.

ANDY
This is an extra copy. To keep on file
just in case.
She smiles. Her faith in herself restored.
ANDY (cont'd)
{brightly)
Anything else I can do for you?

I INT. 50 CARMINE-- NIGHT

\,
For the first time, ANDY is early to meet NATE., sitting ·in the
corner of an Italian restaurant when he .enters.
NATE
Bey, you look pretty relaxed after the
day you just had--
1\NDY
Nate, I have news--

·NATE
You do? So do I. I sent a bunch of
letters to restaurants in San Fran,
all my favorites, figuring, what the
·hell, got nothing to lose and look--
He shows her a letter.
NATE (cont'd)
I have an interview at Chez Panisse.
Can you believe .it?
ANDY
Oh my God, That's amazing.
 6 8.

NATE
The timing is perfect. You just quit
your job, so we .can go out together.
· If you like California, Andy, there's
a lot of great jobs that don't involve
working for psychopaths.
He looks at her.
NATE (cont'd)
What's your news?
On her smile, trying to figure out how to break this to him.
INT. RUNWAY-- DAY
ANDYpicks up the phone.
ANDY
Miranda Priestly's office!
She's multitasking as she did before -- answering the phone,
stuffing envelopes, sorting an accessory pile, but we can see
she's starting to get it down.
ANDY (cont'd)
Oh, hi ...
INT. GALLERY DAY
We see LILY, at work in a small office at the back of a gallery
in Chelsea.
ANDY ( O. S.)
The reservations are under Barnes.
LILY
Got it.
ANDY
I've been working so hard and he's not
that psyched about it, so ..• I just
want to make sure his birthday is fun.

INT. RUNWAY-- , DAY

ANDYon the phone. The phone rings.
ANDY
Bye, Lily. Thanks.
(answers phone)
Miranda's Priestly's office ...
 69.

l___.
. ANDY'S interrupted by the loud sound of someone having a
coughing fit.
ANDY (cont'd)
I'll tell her you called. Thanks.
ANDY looks over to where EMILY is sitting at her desk, blowing,
her nose. EMILY checks her face in her pocket mirror. Horrible.
ANDY (cont'd)
Are you okay?
·EMILY
I don't have time to NOT be okay. I'm
going to the benefit tonight.• If I
live that long.
;rust .then they• hear MIRANDA'Svoice.
MIRANDA
An-dre-a! Em-i-lyl
INT, Milll:IDA'S OFFICE -- DAY
.11.NDY
and EMILY walk .in together.
J
\.
. MIRANDA
I just want to make sure before the
benefit that you are both fully
prepped o·n the guest list.
ANDY and EMILY exchange a look.
ANDY
·Actually, I wasn't planning on going
to the benefit. I thought only the
first assistant went.
MIRANDA
Only when the first assistant isn't
revoltingly ill. You'll come and help
Emily.
On EMILY and ANDY'S surprised faces.
INT. RUNWAY
-- DAY
EMILY dumps something on ANDY'S ·lap -- a book of what looks like
mug shots. EMILY starts flipping through,'pointing out people.
It is clear EMILY is a little miffed.
 70.

EMILY
I don't see why she needs both of us.
She promptly dissolves into a coughing fit for about twenty
seconds.
ANDY
Don't look at me. It's Nate's birthday
tonight. This is the last thing I want
to do.
EMILY
That's the president of the Met--
ANDYkeeps flipping through.
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.
,Just then NIGEL bursts in.
NIGEL
What are you doing in here?
ANDY looks up at him.
NIGEL (cont'd)
Good god, we don't have a moment to
lose.
EXT. STREET -- DAY
NIGEL trots down the street with ANDYin tow.
NIGEL
Black Tie. The highest level possible
in grooming and fashion. Few, if any,
can pull it off. Hair and makeup will
meet us there and Harry Winston is
sending over a £ew hauh1es to choose
from.
 71.

INT, SHOWROOM/STUDIO
-- DAY
We're in Oscar de la.Renta's capacious showroom/studio. A large
logo that _reads "Oscar de la Ranta" is overhead,
SALES REPS bring _out dress after dress on a rack.
We see ANDY, overwhelmed •
. Suddenly OSCI\R himself appears. He and NIGEL exchange air-
kisses.
OSCAR
Nigel, what can we do for you?·
NIGEL
We have an emergency red carpet
situation .•
Ee geetu~ee to ANDY.
NIGEL (cont"d)
Thing is, she's a 6.
We see the stunned looks on everyone's .faces, as if he'd said
she had an.e:Ktra a:rm.
OSCAR
I'll see what we can do.
INT. STUDIO -- LATER

We see ANDYfrom behind as the MAKEUPARTIST applies the

finishing touches.
NIGEL selects a necklace from an assortment of necklaces. Re
drapes it around ANDY'S neck.
NIGEL studies hie creation, proud, He sighs.
NIGEL
How do you feel?
ANDY
Well, let's see •••
EXT. STREET -- NIGHT
We see a limousine gliding through the streets ••.
ANDY (V.O.)
~y feet are killing me, everything
pinches •••
 72.

EXT. METROPOLITANMUSEUMOF ART -- NIGHT

The Met, all lit and abuzz for a gala charity benefit.
A banner across the front of the museum reads "RUNWAYPRESENTS:
THE COSTUMEINSTITUTE: IN BLACKAND WHITE." A red carpet crammed
with celebrities and photographers leads into the museUill.
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 opens and ANDY steps out onto the red
carpet.
And she looks unbelievable, gorgeous, perfect.
ANDY (V.O.) (cont'd)
Never felt better.
She takes a moment, then ducks around the red carpet, trotting
up the stairs behind the line of photographers.
Just then EMILY spots her.
EMILY
Oh my God, Andy. You look ••• chic.
But ANDYis busy staring at EMILY, in her strapless dress.
ANDY
Em•.. you look so thin.
EMILY
(flattered)
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. Congrats.
EMILY smiles proudly, then dissolves into another round of bone-
rattling coughs.
 73.

EMILY
Ready:!
INT. METROPOLITAN
MUSEUMOF ART -- NIGHT
ANDYand EMILY enter •. The scene takes ANDY'S breath away: the
lobby is packed with New York's elite. Everything in sight is
white -- white tulips, bone white china, white candles, white
tablecloths and chair covered in white silk.
All the GUESTS are in black or white. EMILY looks Around.
EMILY
Everything has to go perfectly tonight
or she'll have my head. You have no
idea how many assistants she's fired
•RIGE:Tbefore they were supposed to go
to Paris. That .can't happen to me.
ANDY
·We'll just make sure everything goes
smoothly, then.
EMILY
We need to make sure.we're there the
second she walks in.
ANDY
How will we find her?
Just then an audible murmur makes its way th.rough the crowda
They, along with everyone, swivel their heads in ti.me to see •••
I
..• a woman making an entrance into the party wearing a
I spectacular red dress.
It's MIRANDA, of course, a ruby in a sea of monochrome.
EMILY
The crimson James Holt. She's a
genius.
It's the'awkward red dress James had in his studio, made over to
perfection.
EMILY and ANDYrush over to MIRANDA.
QUICK CUTS at the ball.
ANDY and EMILY stand at M:IRANDA'" e:!.d.e .,,,. ·she :fi.elde g:.<>ota.ns<>·-
A DISTINGUISHED COUPLE approaches.

i
I
I.
i
!
 74.

MIRANDA
(smiling)
Emily?
EMILY racks her brain. Which goes blank. She starts to panic.
EMILY
(fumbling)
That's •.. Wait .•.
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
walking down the stairs.in Valentino.
MIRANDAgreets the couple.
MIRl'.NDA
Ambassador, Rebecca. Lovely to see
you.
EMILY gets ANDY's attention and mouths "Thank you."
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.
EMILY
That's Jacqueline Follet.
ANDY
From French Runway? I thought Miranda
wanted her to come after she left.
EMILY
She did. Jacqueline puts her in the
worst mood.
JACQUELINE.and IRV head straight for MIRANDA.
MIRANDA
Good to see you, Irv.
IRV
Miranda, you look amazing.
 75.

Then MIRANDA.turns to JACQUELINE. They•kiss the air behind each

,,ther • s ears, pretending to he happy to see each _other.
MIRANDA
Bonsoir, Cherie. Ta robe est rudement
chouette.
JACQUELINE
I like your dress too. Very •••
Americaine. sportif.
MIRANDAsmile5, .hut looks like she'd rather throw darts at
JACQUELINE.ANDYquickly steps forward.
l'INDY
Alers, Jacqueline, dites-moi, avez-
vous rencontre Brad Pitt?
JACQUELINE
Ah, no ....

ANDY
Venez avec moi.
(to MIRANDA}
Pardonnez-nous.
She pulls JACQUELINEacross the room.
LATER

ANDY and EMILY are with MIRANDAwho is talking to ELTON JORN.

Suddenly they're surprised by the appearance of MIRANDA'S

husband STEP~EN, quite drunk.
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 freezes. MIRANDAforces a laugh. EMILY emits a cough of
·shock, but 1\NDYquickly turns to ELTON, distracting him.
ANDY
zrm eorry to be GUoh an id~ot, but 1
think you are so awesome. I can sing
along to, like, fifty of your,songs ••.
(MORE)
 76.
ANDY (cont'd)
I think Crocodile Rock is my favorite,
but I also love.Tiny Dancer ..•
And while she chats with him, MIRANDAputs her arm around her.
husband and leads him gently away.
MIRANDA
Corne on, darling, let's get something
to eat. I'm starved, aren't you?
And as she walks away, MIRANDAturns.
And looks at ANDY.
And MIRANDAmouths the words "Thank You."
ANDY and EMILY'S eyes both go wide. Holy shit.

EXT. MUSEUM-- NIGHT

ANDYtrots down the steps, exhilarated.
Checks her watch. 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
You look amazing.
(he grins)
And I take it you still work for
Miranda.
ANDY
I am. Thanks to you .•• And I'm doing
great now.
CHRISTIAN
(laughs)
Oh, is that right?
ANDY
Sure is. Guess 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.
 77.

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
.Say hello to the boyfriend for me.
She tries to bite back an incriminating smile. Turns and races
towards her•1imo.
INT. TOWNCAR -- NIGHT
ANDY is putting the finishing touches on wrapp.ing a present.
Then she starts ripping off her clothes, shoes, stockings. She·
grabs a pair of jeans, a tshirt.and some boots out of a bag and
starts to change.
INT. RESTAURANT
-- NIGHT
NATE,. DOUGand LILY are hanging out with NATE'S friends when.
ANDYwalks in, She runs over, hugs NATE and sits down.'
ANDY
I'm so sorry I'm late. One moment
Miranda just announces I have to go to
the benefit, next thing you know I'm
in a crazy getup directing Isaac
Mizrahi to the raw bar .._
They're kind of staring, so she tries to wind it down.
ANDY (cont'd)
But the weirdest thing was that
Miranda actually acted like a halfway
no:onal hllJllan being and ••• and ••.
And she can tell she's blathering.
ANDY (cont'd)
Anyway, I'm really sorry and. • • I'm
sorry.
 7 8.

She grabs a menu.

ANDY (cont' d)
What's everyone getting?
Just then the WAITRESS walks over with change from the check.
And ANDYrealizes. She's missed the whole dinner.
And without saying anything, NATE reaches over and takes
something off her head... ·
.•• her. tiara.
INT. SUBWAY-- NIGHT
ANDYand NATE sit next to each other, surrounded by late night
passengers.
ANDY
.•• I must have lost track of time.
It's so strange. That's never happened
to me before. I'm really sorry I was
late. It won't happen again.
NATE gives her look. Yeah, right.
MUSIC .UP
A MONTAGEthat shows that as ANDY'S career starts to take off,
her relationships continue to spiral downward.
--IN THE APARTMENT
ANDYwakes up. NATE is already gone.
-RUNWAYRECEPTION
ANDY steps off the elevator with all the other RUNWAYgirls. And
now, with her confident stride and her fashionable attire, she
is indistinguishable from any of the others •••
--CENTRAL PARK
NATE, DOUG and LILY and a bunch of their friends play frisbee in
the park. The summer is beginning to turn int.o fall. Caroera
finds ANDY•..
... on the csll phone.

--RALPH LAUREN SHOWROOM

 79.

I
'-._.,
We see ANDYback, in the Ralph Lauren showroom. They wheel out a
rack of sweaters. ANDYflips though the skirts, confident,
s e leot:Lng and re,j ecting.

--APARTMENT

We see NATE in his apartment, alone, waiting fo,r ANDY. Finally

he picks up his jacket and walks out.
--RUNWAY
ANDYgoes through the book with JOCELYN, clarifying MIRANDA'S
notes. A couple FASHION·,ASSISTANTStake notes as ANDYtalks.
--ON THE STREET, DAWN
ANDYwalks to work so early the sun is still rising. The air has
turned cold now.,. She pulls her coat closer around her.

--MCSORLEY'S
NATE, DOUGand LILY out for drinks. ANDYis nowhere to be found.
NATE's cell phone rings. The caller id flashes "ANDY".
NATE turns off the ,ringer and ignor·es the call. DOUGand LILY
exchange a lo,ok.
INT. RECEPTION -- DAY
A handsome Italian man, MASSIMOCORTILEONI, steps off the
elevator .. MIRANDAgreets him. They airkiss.
MIRANDA
Massimo! Mio l\J:nore!
MASSIMO
Miranda! Belissimal
He rattles off some more compliments in Italian as she leads him
down the hall to her office.
MIRANDA
Oh, Massimo, stop. I'm a married
woman, you know.
She walks him by ANDYand EMILY.
MIRANDA(cont'd)
Andrea, this is Massimo Cortileoni,
pre~ident cf LVMB:.
(to MASSIMO}
If you need anything at all, just let
Andrea know.
 80.

And with that she sweeps MASSIMOinto the office. ANDY realizes
EMILY is staring at her.

She shrugs, as if what MIRANDAjust did was no big deal. But

EMILY knows it is.
INT. RUNWAY NIGHT
ANDYwaits for the book, no longer timid, blasting a song on the
stereo and singing along ..•
.ANDY
(to the Stones)
Ain't I hot enough? Ain't I rough
enough? Ain't I rich enough? I'm not
too blind to see .••
Suddenly the intercom sounds.
INTERCOM
Book's done.
ANDY
(still singing)
The book is done. I said, the book is
done ••.
INT. MIRANDA'S FOYER NIGHT
ANDYsteps in, carrying the dry cleaning and The Book, moving
quickly. Suddenly she hears a voice, emerging from the dark.
MIRANDA
Andrea.
ANDYpractically has a heart attack.
MIRANDA(cont'd)
Come in.
ANDY steps into the apartment, curious. And scared.
MIRANDA(cont'd)
As you know, Paris is the most
important week of the year for me. The
schedule of shows and interviews is
horrendous and I'm under a microscope.
A.NOY looks ~t her, not sure where this concerns her.
 81.

MIRANDA(cont'd)
And so, as you can imagine, for that
week it is vital that I have the best
team possible with me, the meet
skilled individuals at the magazine.
And this is when ANDYstarts to have a bad feeling.
ANDY
Yes, of course you do and--
MIRANDA
You're coming with me to Paris,
Andrea.
ANDY
Oh, no. No, no. You don't mean that.
Emily would die. Her whole life is
about Paris. She hasn't eaten in
weeks.
MIRANDA
It's not for you to tell me what I can
-and cannot do .. You are coming with me
to Paris.
ANDY
With all due respect, I can't do.that,
Miranda. I just can't. I've only been
at Runway for five months.
MIRANDAshrugs. Fine.
MIRANDA
Then you're fired.
ANDY
Excu.se me?
MIBANDA
If you don't come to Paris, I will
.assume you're not serious about your
job and I would have no choice but to.
dismiss you.
ANDYlooks at her, stunned.
MIID\NDA{cont'd)
on the other hand, if you do~ good
job in Pa:cia and eont:i.nu.e .to ;i...mpJ::ea~
me; there' s no end to your future at ·
Runway or anyplace else.
 82.

She smiles. At her very most seductive.

MIRANDA (cont'd)
The decision is strictly up to you.
ANDY
But--
MIRANDA.
That's all.
INT. ELEVATOR-- NIGHT
ANDYrides down in shock. She closes her eyes. Da:mmit.
EXT. CENTRALPARK WEST -- NIGHT
ANDYwalks out of MIRANDA'S building. ROY opens the door for
her, but she waves him away.
EXT. BROADWAY
-- NIGHT
ANDYwalks downtown alone, thinking.
INT. ANDY'S APARTMENT-- LATER
ANDYlooks 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.
INT. RUNWAY-- DAY
The desks outside MIRANDA'S office are empty. We hold for a few
beats.
Then ANDYcomes in, walking slowly, still unsure.
And at that moment MIRANDAaDpears. They look at each other.
MIRANDAnods, almost imperceptibly. ANDYnods back.
And MIRANDAtakes her coat off. ANDYholds out her arms to take
the coat from her.
But MIRANDAputs the coat on EMILY'S desk instead. Right in
front of EMILY'S Eiffel Tower screensaver.
And then MIRANDAstrides into her office. ANDY sits down, trying
to grasp the magnitude of what just happened. And just then
MIRA!,,1)Apokes her head back in.
 83.

MIRANDA
Don't forget to tell Emily.

And we see ANDY'Sface. Me?

INT. RUNWAY
-- DAY
11:NDYis waiting for EMILY, dreading her arrival. Suddenly she
can't take it anymore. She dials the phone.
EXT, MIDTOWN
STREET-- DAY
EMILY flies down the street in even more than her usual tizzy.
ANDY (O.S.)
Emily--
EMILY
Sorry I'm late. I got there early and
realized I forgot to get more Hermes ·
scarves for the trip.
ANDY (o.s.)
Emily, I have to talk to you.
EMILY
I freaked out of course, but then I
just called Chantale at home and she
opened the store early, so I got them.
EMILY juggles a stack of the bright orange Hermes scarf boxes,
her purse, her cell phone.
EMILY 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
oan't even--

And that's when EMILY steps into the street.without looking. The
second she steps off the sidewalk--
 84.

Blam! EMILY is hit by a taxi.

We see her purse, her cell phone, her orange Hermes shopping
bag, some orange Hermes boxes, and some of the white scarves as
they fly through the air.
INT. LENOXHILL HOSPITAL DAY
ANDYsits in the waiting room, distraught.
INT. HOSPITAL ROOM-- DAY
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.
ANDYstands by the window, arms folded, defensive.
EMILY
I don't care if she was going to fire
you or beat you with a hot poker, you
should have said no.
ANDY
I didn't have a choice. You know how
she is.
Just then an ORDERLYwalks 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
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 pile of bullshit.
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 those 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. God! It's so unfair.
(takes another bite)
Just go.
ANDY
Emily--
E~JLY
I said, go! .
INT. RUNWAY-- DAY

ANDYsits in NIGEL'S office as NIGEL and the FASHION ASSISTANTS

swirl outfits in front of her.
NIGEL·
To accompany Miranda to a bistro?
Cuffed, charcoal gray Theory pants
with a black silk turtleneck by
Celine. For the tennis club where
she'll -receive private lessons? ,
Bootleg workout pants, zip-up hoodie
and tank top, all by Prada Sport. For
the front raw of the Chanel show? A
pleated schoolgirl skirt by Anna Sui
with a sheer white Miu Miu blouse and
Chanel spectators with a Michael Kors
blazer... ·
A BEAUTYEDITOR appears in front of ANDYwith a cosmetic bag.
, BEAUTYEDITOR
Here are your shadows, li,ners,
lipsticks in matte, high-shine, long-
lasting and clear, six mascaras from
light blue to pouty black, eyelash
curler and two eyelash combs, liquid,
solid and powder blush. 1\nd of course
your moisturizers: glimmering, tinted,
scented, unscented, hypo-allergenic,
alpha-hydroxy... ·
The B~~UTY EDITOR now puii= out~ sketch book with a different
page for each event, with labels like "Outdoor Daytilne" and
Relaxed Evening Glamour: NOT FOR BLACKTIE".
 86.

ANDY
There's no way I can do all this.

NIGEL
Hopefully you won't have to. This is
for emergencies only. If for some
reason your hair and make-up people
can't make it.
ANDY
I have my own hair and make-up person?
They all laugh.
NIGEL
You don't get it. You will be with
Miranda every waking hour. You are
part of the image she reflects to the
world. You need to look right.
And suddenly more racks of clothing are rolled in.
NIGEL (cont'd)
And now for the evening attire ..•
on ANDY. There's more clothes?
INT, RUNWAY
-- NIGHT
The hubbub has died down. ANDY looks at NIGEL, exhausted.
NIGEL
On Saturday Night, Miranda is throwing
THE event of the Fashion Week, a
soiree honoring James Holt. I'll be.
there, of course, but you need to make
sure it goes without a hitch.
ANDY
sure. Great. Somebody shoot me.
NIGEL
You know the funny thing? Haven't
known you that long, but I'm gonna
really miss you.
She looks at him. What? He smiles.
NIGEL (cont'd)
Who's leaving Runway? Who got a new
job? Oh, yes. Me.
 87.

ANDY
You're kidding.me.
NIGEL
Jamee Holt just got like a billion
dollars from LVMH-- you know, they
.have that dreamboat president,
Massimo. He's giving James money to
start his new line, and he needs a
partner.
{off her look)
,Miranda·knows. She put me up,for it.
ANDY
oh my God. Nigel, that's amazing. What
a fantastic job.,
NIGEL
Oh I know. Pays up the wazoo, lots of
money and power ••• what's not to like?
(grins at her, knowing)
People would kill for a job like that.
Re looks at her.
NIGEL (cont'd)
What the hell is wrong with you? No ,
one with a oile of free couture should
ever have that expression on their
face.
ANDY
I wish I could get excited about going
to Paris, but I still feel terrible--
NIGEL
You mean about Emily? Oh please. Emily
would have sold you out ten times
faster than you did. ,,
ANDY
That doesn't make it right.
NIGEL
Oh, please. Don't give me that Miss
America crap. You did what you had to
do. End of story. Andy, after Paris,
the sky's the limit for you.
ANDY takes this in.
 88.

NIGEL (cont'd)
Who knows, you might even be a size 4
one day.
She gives him a look.
NIGEL (cont'd)
Car picks you up tomorrow at 6 AM.
INT. CHELSEAGALLERY-- NIGHT
LILY has curated a show at the gallery where she works. The
place bustle.s with groovy ART PEOPLE.
LILY runs around like she owns the place, much the way ANDYdoes
at RUNWAY now.
ANDYwalks in, looks around, impressed by the art and the crowd.
LILY spots ANDY and runs over. They hug.
ANDY
Oh my God. Lily, look at this.
LILY
I'm just a junior curator.
ANDY
Stop that. This is amazing. I am so
proud of you.
LILY
I'm glad you came. I wasn't sure you
would be able to make it.
ANDY
What are you talking about? I wouldn't
miss this.
LILY looks at her, smiles.
ANDY (cont'd)
Okay, so lately I've missed a few
things ••. a lot of things •.• almost
everything.
LILY
(laughs)
You're here now. That's all that
matters.
LILY runs off to greet someone. ANDYwalks over to DOUGwho is •,_,
at the buffet, carefully piling shrimp on a tiny plate.
 89.

ANDY
L Hey, Dougie.
DOUG
Hey. Got fired today. Want some
shrimp?
ANDY
(very surprised)
You got--
DOUG
I'm broke, I'm lying to my parents and
today I watched six episodes of Pimp
My Ride on Tivo. I feel AWESOME.
(extends the plate)
Seriously, take a shrimp.
ANDY
Doug, I'm so sorry.
DOUG
Don't be. I'm staring into the abyss.
But the abyss is cool.
·INT. CHELSEAGALLERY-- LATER
ANDYwaits for the bathroom. she hears a .voice,
CHRISTIAN
Rey, Miranda Girl.
She closes her eyes. Can't be. She turns. Yup.
ANDY
What are you doing here?
CHRISTIAN
Art. I like art. You know, I was just
thinking about you.
ANDY
Bull.
CHRISTIAN
I'm doing a profile of Gaultier for
New York and I was making plans for
Paris and I found myself wondering if
my Miranda girl would be there.
ANDY
Actually •••
 90.

stop smiling. Why am I smiling?

ANDY (cont'd)
I am going •..
(suddenly feeling ashamed)
I just found out and--
CHRISTIAN
That's great. I'm staying at this
killer hotel in the Marais right
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.
ANDYcloses 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.
INT, CHELSEA GALLERY NIGHT
ANDYfollows LILY through the gallery.
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 .~.ndy I know is madly in love with
Nate; is always five minutes early and
thinks Old Navy is couture. For the
last 16 years I've known everything
about that Andy, down to her last
hangnail. But this person?
 91.

She gestures to 1\1!1DY.

LILY (cont'd)
This glamazon who skulks around in
corners with some random hot fashion
guy? I don't get her.
ANDYtries to say something, but LILY interrupts.
LILY (cont'd)
In case you're interested, Nate is
looking for you.
She .indicates NATE across the room. He waves. She walks over to
him and gives him a kiss.
EXT, CHELSEAGALLERY-- LATER TEAT NIGHT
NATE and ANDYwalk together down the street away from the
gallery. The street is shiny from a recent rain,
NATE
I think it's great. Going to Paris. A
big opportunity.
ANDY
I know,, but it means I can't go to
California and--
NATE
Please. You were never corning with me.
ANDY
Look. I know you're upset because I've
been so busy, missed your birthday.
NATE
Andy, please. I don't care about that
stuff. It's you. You're changing.
ANDY
That's not true.
NATE
You used to be thoughtful, down-to-
earth, no bullshit. When you started
that j.ob you laughed at the Runway
girls, their vanity, their pettiness,
the way they worshipped Miranda. And
now you~ve become one 0£ them. Some
new creature. Mirandy.
 92.

ANDY
I don't understand what you're asking
me to do. Quit? I can't give up now.
I've worked too hard, come too far.
NATE
Andy, all I know , if I met you
today, I don't know if I'd even go
over and talk to you, let alone spend
two years of my life with you.
ANDY
You don't mean that.
NATE
Yeah, Andy. I do.
Beat. ANDYtries to catch her breath.
ANDY
Then maybe this trip is coming at a
good time. Maybe we should take a
break for a while.
She stands there, waiting for him to protest, throw his arms
around her. Instead, he.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. ANDYclicks on the.phone.
ANDY
Hello, Miranda ••.
INT. AIRPLANE -- DAY
MIRANDAand ANDYare in first-class. The tray of champagne and
orange juice comes around. MIR.!'1.NDA
waves it off. ANDYdoes too.
 93.

INT. AIRPLANE -- DAY

.I\.NDYgoes back to the galley. Grabs a couple of the champagne
,glasses and downs them. The FLIGHT ATTENDANTSstare.
INT. AIRPLANE~- NIGHT
It's dark · now and everyone on the plane is asleep.
MIRANDAis asleep, mouth closed, make-up seamless, not a hair
out.of place, perfect even at rest.
We move over to ANDY, who sleeps like a normal person, hair
askew, mouth slightly open.
INT. LIMO -- NIGHT
ANDYlooks out the window, watching Paris at night whizzing by
her. She is in awe. MIRANDAis not even looking .out the window •
.EXT. PLACE DE VENDOME-- NIGHT
The Paris Ritz. MIRANDA'S limo pulls up.
INT, RITZ HOTEL SUITE -- PARIS -- NIGHT
\ The BELLMANopens the door to a huge suite. ANDYlooks confused.
'-·

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
(realizes)
This is~ room?
INT. MIRANDA'S RITZ HOTEL SUITE -- NIGHT
ANDYwalks into MIRANDA'S room, which.makes the other place look
like a dump. She stares.
MIRANDA
Get out the guest list. We need to
start working on the seating chart.
ANDY grabs .her notebockr tries not to gape at the luxuri..ou~
surroundings.
 94.

MIRANDA (cont'd) _,,,,'

By all means, move at a glacial pace.
You know how that thrills me.

ANDY springs to attention.

INT. RITZ HOTEL ROOM -- NIGHT

ANDY, in the sumptuous Ritz robe, looks out the window at the
amazing view. Can't believe she's here. She smiles.

INT. MIRANDA'S RITZ HOTEL SUITE -- DAY

The next morning. We see MIRANDA getting ready -- a team of

people works on her hair, make-up, pedicure, manicure ••.

We move across, through the wall .•.

INT. RITZ HOTEL ROOM -- DAY

... to the room next door, where we see ANDY getting the exact
,~ame VIP treatment. She can't believe this is happening to her.

QUICK CUTS of ~..NDYand MIRANDA in Paris.

INT. FASHION SHOW -- .DAY

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.

INT, PARIS RESTAURANT -- NIGHT

A tiny restaurant on Rue de Richelieu called Dave where all the

fashion notables eat during Fashion Week.

MIRANDA dines with a tableful of designers, editors and

celebrities and ANDY is right there beside her.

INT. MIRANDA'S RITZ HOTEL SUITE -- DAY

A map of the inside of the chateau with tables arranged on it.

ANDY does the seating arrangements with MIRANDA looking over. her
shoulder, pointing.

EXT. FASHION SHOW NIGHT

The Versace show. MIRANDA walks by the paparazzi waiting outside

the show. They scream her name. She shows off her best smile.

ANDY squints, blinded by the flashbulbs.

 95.

INT. RITZ LOBBY -- DAY

ANDY stands near MIRANDAwho is in the lobby chatting with

STELLA MCCARTNEY when CHRISTIAN comes up beside ANDY,

CHRISTIAN
I think you owe me.
She turns. And is happy to see a friendly face.
ANDY·
Oh, do I?
CHRISTIAN
You working tonight?
ANDY
Actually, Miranda has a dinner.
CHRISTIAN
So you are 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 auia tres tree deaole.
ANDY
Oh, you' re ·so full .of shit. You are
not desole at all.
CHRISTIAN
Yeah, not even a little. What time
should I pick you up tonight?
INT. RITZ HOTEL.ROOM-- EVENING.
. ANDYis getting dressed in one of her many fab outfits.
INT. MIMNDA'S RITZ HOTEL SUITE -- EVENING
MIRANDAis just out of the shower when she hears a knock at the
door. She .opens it. And a BELLMANhands her an envelope.
INT, RITZ HOTEL CORRIDOR DAY
ANDYwalks down the hall to MIRANDA'S suite, feeling cheerful,
looking great. She knocks on_the door.
I
MIRANDAopens the door and immediately turns away, walking over
'\-· to the window. She looks out over the rooftops of Paris.
 96.

INT. MIRANDA'S RITZ HOTEL SUITE -- CONTINUOUS

ANDYfollows, and her eyes widen as she notices something which
shocks her to the core .••
MIRANDAis wearing sweatpants.
ANDY
Um••. I came to remind you, you're
having dinner at Natalie Lehman's
house in the country this evening
and .....

MIRANDAwalks back over to the window without a word. Looks back

c,ut over the city.
MIRANDA
Do you know where I grew up?
11NDYshakes her head. Couldn't be more surprised by this
conversation if they were both on fire.
MIRANDA(cont'd)
Pearl River, New York. Right on the
border with Jersey. Cultural
highlight? The Nanuet Mall. My dad
owned a tire store.
(smiles)
But Pearl River is only .30 miles from
Manhattan on the Palisades Parkway. I
grew up reading Runway, Elle, Vogue,
sneaking into New York to stand in the
back of the shows, soaking it all up.
ANDYis perfectly still.
MIRANDA(cont'd)
When I was hired as Natalie's
assistant, I knew I would make it. I
knew I would be her someday. That's
all I ever wanted to be. The editor of
Runway •..
A long beat. And finally MIRANDAturns.
She has no make-up on. Her hair is damp and unstyled. And.she's
obviously been crying.
MIRANDA(cont'd)
We need to think of a way to keep it
out of New York press.
 97.

( ANDYlooks at her, not understanding. MIRANDApoints at an

"-'· envelope on the table.
MIRANDA (cont'd)
Divorce papers. Preliminary, of
course.
Al,"DYtakes in the shock of this.
MIRANDA (cont'd)
Funny thing is, I thought Stephen and
I were going to make it. Third time's
the charm. I used to call him my Lucky
Third.
(she sighs)
At first they're always proud to.be
with me, proud to be with a powerful,
accomplished woman. They say they
don't want some little housewife. But
then ....

ANDYis watching her, just listening.

MIRANDA(cont'd)
I love him. I do. I just can't be what
he wants me to be.
(she shivers}
And my girls ••• another stepfather,
gone ...

And she can't even bring herself to think this part through.
ANDY
You want. to take the evening off? I
can reschedule everything.
MIRANDAlooks at her.
INT. RITZ HOTELLOBBY NIGHT
We see MIRANDA, striding through the lobby. And what we notice
·is ••. she looks like regular MIRANDA. Don.e up, perfect,
confident walk.
EXT. RITZ .HOTEL-- NIGHT
MIRANDAbreezes out of the hotel, gets in the waiting Limo .
. INT. :r.,IMO-- NIGHT
· MIRANDAcloses the door, takes a deep breath. And now that she's
alone, for one second, her veneer cracks, just a little.
 98.

MIRANDA
(to the DRiilER)
Let's go.
INT, L'AMBROISIE -- NIGHT
CHRISTIAN and ANDYhave dinner in a tiny romantic restaurant on
the Place des Vosges.
CHRISTIAN
Oh, come on. You hate her. She whips
you with tire chains.
ANDY
She can be tough to work for, but
there's another side to her.
CHRISTIAN
No. There isn't. She's a ball buster.
That's all.
ANDY
You wouldn't be saying that if she
were a man. You'd be admiring her
strength, her grit, her tenacity ...
but because she's a woman, those
things .make her a "ball-buster".
He laughs.
ANDY (cont'd)
What is so funny?
CHRISTIAN
You. Defending her. You've crossed
over to the dark side completely.
(smiles)
It's pretty sexy.
He grins. Pours her more wine.
INT. L'AMBROISIE NIGHT
They drink glass after glass of wine.
EXT. PARIS STREET -- NIGHT
They walk home together through the Place Des Vosges.
ANDY
I never understood why everyone was so
crazy about Paris, but now •.•
 99.

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.
ANDY (cont'd)
Nate and I only split up a few days
ago.
Another kiss.
ANDY (cont'd)
I've had too much wine and my
judgement is impaired.
Another kiss.
ANDY(cont'd)
--·~'
\_ I barely know you and I'm in a strange
city.
He kisses her again.
ANDY· (cont'd)
I'm out of reasons.
CHRISTIAN
Thank God.
INT. CHRISTIAN'S HOTELROOM-- NIGHT
ANDYand CHRISTIAN are kissing on his bed. Ber phone ringe.
"Oops I Did it Again." ANDY ignores it. ·
But we see the caller ID. It says MOM& DAD.
DISSOLVETO:
INT. CHRISTIAN'S HOTELROOM-- MORNING
ANDYwakes up. Ber careful hair and make-.up from the night
before are wi1d1y askew, She rea1izes what ehG did. And that ahe
. has a headache.
 100.

She sits up. Catches sight of herself in the mirror. Ouch. We

h,ear the sound of the shower running. CHRISTIAN calls out--
CHRISTIAN
Order room service. Anything you want.
ANDY
I have to go back to my room and--
CHRISTIAN
Can't hear you.
ANDYstarts getting dressed. As she picks up her jacket, she
knocks over a few papers. And sees something sticking out.
A mock-up of a magazine. With the familiar RUNWAYlogo. She
picks it up.
l"NT. SHOWER-- DAY
CHRISTIAN stands under the spray of water. Suddenly the shower
curtain is yanked back.
1>J;7)Ystanding there, furious. She holds up the issue of mock-up.
ANDY
What the hell is this?
CHRISTIAN, cool as can be, steps out, nude and grabs a towel,
which he wraps around himself.
CHRISTIAN
It's a sample.
ANDY
Of?
CHRISTIAN
of what American Runway is going to
look like when Jacqueline is editing
it.
He pulls on at-shirt.
CHRISTIAN {cont'd)
We worked on it together. She's
bringing me in to run all the
editorial content of the magazine.
ANDY
They're replacing Miranda?
 101.

CHRISTIAN
Are you really surprised? Runway is
one of the most expensive books in the
business. Jacqueline does the same
thing with a lot less money.
ANDY
_And that's the most important thing?
CHRISTIAN
Money is always the most important
thing.
ANDY
You think I've crossed over to the
dark side? Listen to yourself.
CHRISTIAN
Who said I was not ort the dark side?
ANDY.
This is a shitty thing to do to her,
·after all she's done for Elias-Clarke.
Miranda will be devastated. Runway is
her whole life.
CHRISTIAN
something tells me she'll .land ·on her
feet.
· (beat)
I guess it's not.the·worst thing that
you found out. You'll probably have to
look for a new job. Irv's going to
tell Miranda this morning at
breakfast. .
He turns to his closet and contemplates his sports coats.
CHRISTIAN (cont'd)
And I'm not worried about you. You·•ve
proven that you're more than capable
of fending for yourself. ·
He picks a jacket, puts it on, turns to ANDY
•.•
only to find the door open. And ANDYgone.
INT. RITZ HOTELCORRIDOR-- DAY
ANDY races down the haii. He~ ceii phon~ ringe ~gain. She _lookg
.at it. MOM & DAD. She turns off the ringer.
\ .._~-·
She knocks on MIRANDA'Sdoor. No answer. She thinks, dials.
 102.

INT. NIGEL'S HOTEL ROOM DAY

NIGEL is just waking up in his hotel room in Paris.
ANDY
I've tried her cell fifty times ••.
NIGEL
Can't you just track her down at her
first appointment?
ANDY
I have to talk to her. Right now.
INT. RITZ LOBBY -- DAY
ANDYpaces, unsure what to do. She dials MIRANDA'S number, yet
2,gain. Finally, MIRANDApicks up.
ANDY
Oh, thank God. Where are you?
MIRANDA
Excuse me?
ANDY
I need to talk to you. Right away.
MIRANDA
Don't have time. I'm having breakfast
with Irv. You should be busy all day
preparing for the James Holt party.
ANDY
Miranda, you don't understand. It's
very important. I have to tell you--
And the phone clicks off. MIRANDAhas hung up.
ANDY (cont'd)
Shit!
This garners some stares. She sits down on a chair to think.
Her cell phone rings again and her heart leaps. MIRANDA.But no.
She picks up.
ANDY (cont'd)
Hey, Mam. Listen, I'm at work. It's
really crazy over here and--
We hear the voice of ANDY'S mother, HlillNAH.
 103.

HANNAH(O.S.}
Before I say anything, don't be too
worried. He's fine.
ANDY
What are you talking about, Mom,
INT. CINCINNATI HOSPITAL -- DAY
HANNAB
is in the hospital, sitting beside RICHARD,
?,ANNAH
Your father had a heart attack. Last
night. Everything's fine now. They've
given him medication and he's resting
comfortably.
INT. RITZ LOBBY-- DAY
ANDYclutches the phone.
ANDY
Oh my God. Should I ·come home?
INT. CINCINNATI HOSl?ITAL -·- DAY
E!ANNAHlooks over at RICHARD, resting.
HANNAH (O.S.)
You know.your father. He wo.uld never
ask. And he knows how busy you are,
so ....

EXT. STARBUCKS-- DAY

We see ANDY, holding back tears.
HANNAH{O.S.)
I just wanted you to know, so you
could make your own decision.
ANDYstands there a moment, teetering on a precipice. Then she
starts to walk, quickly. ·
EXT, PARIS STREET -- DAY
ANDYdashes through Paris.
INT.. HOTEL CRILLON LOBBY-- DAY
ANDYruns up to the front desk.
 104.

ANDY
Irv Ravitz?

INT. HOTEL CRILLON CORRIDOR DAY

llNDY runs down a corridor. She paces a second, knowing she's

going to get her ass kicked, then knocks on the door.

The door opens. IRV stands there, surprised.

We see MIRANDA behind him. When she sees ANDY, she walks over.
Turns to IRV.

MIRANDA
Excuse us a moment.

!URANDA pulls ANDY .into the hall.

MIRANDA {cont'd)
Have you lost your mind?

ANDY
I have to talk to you.

MIRANDA
Whatever it is can wait until later.

MIRANDA walks into the room, closes the door in ANDY'S face.

INT. HOTEL CRILLON CORRIDOR -- NIGHT

ANDY sits in the hallway, wondering what to do. Just then

MIRANDA comes out. ANDY springs up and follows her.

MIRANDA doesn't say anything, just .starts walking. ANDY follows.

ANDY
Is everything •.. did that go okay? I
mean, are you okay?

MIRANDA just keeps walking.

ANDY (cont'd)
Did he say anything about ••. ? I mean,
what did he say?

MIRANDA stops, aggravated.

MIRANDA
Now I know you've lost your mind.
 105.

ANDY
I was just wondering •.• I mean, if
there's anything I can do.
MIR1Ul'DA
Yes, there is. Your 7gb.
And MIRANDAwalks away. ANDYstands there.
EXT. CHATEAU-- ESTABLISHING -- EVENING
A gorgeous 17th century castle in the. countryside. GUESTS are
arriving.
·ANDY is outside, working with the staff, coordinating arrivals.
She excuses herself for a moment.
We see her dial her cell phone.
EXT. CHATEAU-- EVENING
A few seconds later. We se.e .!iNDY, standing outside the Chateau,
on the phone.
ANDY
Hey, Dad. Mom says you're doing great.
I just wanted you to know •.•
(listens)
.I'm going to come home and see you
just .as soon as Paris is over, .okay?
She closes her eyes, fighting back emotion.
ANDY {cont'd)
Thanks. I love you too.
INT, CHATEAU-- EVENING
The chateau we saw in the opening with the party in full swing.
l'J!IDYis bustling around, checking all the details -- the.
seating, the• flowers, making sure the GUESTS are happy.
She spots CHRISTDIN, who raises a glass to her. She looks away.
INT. CHATEAU-- EVENING
1\NDYwatches MIRANDAas she greets the GUESTS -- s.o corrposed, so
gracious. ANDYmarvels.
Just then NIGEL clinks his fork on a glass. He's standing at the
podium on the dais, getting ready to speak.
 106.

MIRANDA walks over, sits down on the dais. ANDY follows.

DISSOLVE TO:

INT. CHATEAU -- LATER

We pick up on the scene from the opening.

NIGEL
.•. one of the most elegant women ever
to walk the planet, I give you Miranda
Priestly.

We see ANDY, applauding, smiling, her eyes shining. MIRANDA

:steps to the podium and we hear that short SCREECH of feedback.
:she covers with a laugh, tries again.

MIRANDA
Thank you everyone. First I want to
congratulate James on his new line,
which is nothing short of miraculous.

,JAMES smiles at her, raises a glass of champagne.

MIRANDA (cont'd)
But before I tell you in detail about
how much I love James Holt, I want to
say a few words. Today is not just an
important night for me, for Runway,
and for ,James, but an important day
for someone else in this room •••

Her eyes land on ,JACQUELINE POLLET. ANDY watches. What the hell?
She shoots a look at CHRISTIAN. Can tell from the look on his
face he has no idea where this is going.

FLASH BACK TO:

INT.. HOTEL CRILLON SUITE -- DAY

Earlier that day. MIRANDA sits across from IRV.

IRV
Miranda, there's something I'd like. to
discuss with you and--

MIRANDA takes a piece of paper out of her Hermes portfolio and

pushes it towards him.
IRV (cont'd)
What is this?
 107.

MIRANDA
L It's a list.
FLASH FORWARD
TO:
INT. CBATEAU-- DAY
MIRANDAcontinues.
MIRANDA
I have the privilege of announcing
that my comrade, Jacqueline Follet,.
editor-in-chief of the French edition
of Runway, will, as of next month, be--
'We see ANDY'S face. Holy shit. Looks at CHRISTIAN; Just as
:stu);\ned as she is.
FLASH BACKTO:
INT. HOTELCRILLON SUITE -- DAY
IRV looks at the list.

MIRANDA
As you know, I have an open invitation
from every other fashion magazine in
the world ..• Vogue, Elle, Harper's, ••
And if, for whatever reason, I had to
leave Runway •••
(indicates list)
•.• these are all the designers.who
have said they will give me first look
at their collections, this is the list
of photographers who will book time
with me first, and these are the top
mode.ls who will do the same.
She smiles.
MIRANDA(cont 'd)
You know how I feel.about Runway, I
intend to be there as long as you'll
have me. So my intention is never to
use this list. But I do have it.
He looks at the list, then up at her. She's composed, cheerful.
MIRANDA{cont'd)
Now, you had something YOU wanted to
discuss?
FLASH FORWJ\RD
TO:
 108.

INT. CF..ATEAU
-- EVENING
MIRANDAcontinues.

MIRANDA
--as of next month, Jacqueline Follet
will be partnering with James Holt in
the new expansion of his business. The
brilliant Massimo has chosen her as
the new copresident of JH
International •••
'
Jmd she indicates JACQUELINE, who waves. Everyone applauds.
JACQUELINEextends her hand to MASSIMO, who waves.
ANDY'S mouth falls open. She looks over at NIGEL. His face
betrays nothing. He applauds along with everyone else.
And ANDYlooks to CHRISTIAN. Who is also shocked as hell.
MIRANDA(cont'd)
I know Jacqueline will be every bit
the comrade to James she has been to
me. Let's all wish her the best.
A hearty round of applause for JACQUELINE. MIRANDAsmiles.
FLASH BACK TO:
INT. PARIS CAFE -- DAY
We see MIRANDAsitting in the corner of a tiny cafe with JAMES
HOLT and MASSIMO. JACQUELINE enters, walks over to the table.
MIRANDA
Jacqueline, you remember Massimo from
LVMH•••

.FLASH FORWARDTO:
INT. CHATEAU-- EVENING
MIRANDAcontinues.
MIRANDA
And now, to the business at hand. A
celebration of one of my favorite
designers ...
She smiles at JAMES.
 109.

INT. CF.ATEAU-- LATER

I\NDYwatches 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
She's given me everything I have,
Andy. When it' s time, she' 11 pa:y me
back.
ANDY
You're sure about that?
NIGEL
No. But I hope for the best.
And he·rejoins the swirl. And ANDYsees CHRISTIAN, having a
drink, trying to cover. ANDYwalks over to him.
ANDY
Don't feel bad, Christian. Most people
eventually wash up on the rocky shoals
of Miranda Priestly, right?
CHRISTIAN
So I've heard.
He looks at her. Her gaze back is level. Sc over this guy.
ANDY
Better luck next time •
.CHRISTIAN
Andy--
ANDY
That's all.
She turns away from him. Runs right into MIRANDA,
MIRANDA
I'm ready to go to.
And ANDYwalks away, without looking back at CHRISTIAN.

'
\_..
 110.

INT. LIMO -- NIGHT

MIRANDAand ANDYride along in the limo on their way back to
Paris. MIRANDAis relaxed, victorious.
MIRANDA
You knew what they were planning.
ANDYnods.
MIRANDA(cont'd)
Christian had to brag about it. So
predictable. And you thought I didn't
know .
.ANDYnods again. MIRANDAlaughs.
MIRANDA(cont'd)
You think that's the first time I had
to defend myself? There's always
someone gunning for this job.
She smiles.
MIRANDA(cont'd)
I was impressed, though. How hard you
tried to warn me. And that, whatever
you thought was happening, you just
kept on doing your job.
She studies ANDY.
MIRANDA(cont'd)
I never thought I would say this, but
I see a lot of myself in you. Your
sharpness, your focus, your ability to
see a move or two ahead. Above all,
your dedication.
ANDY
Thank you, Miranda.
MIRANDA
Your father was ill yet you chose to
stay and help me and help Runway •
. That's very admirable.
ANDYlooks at her, stunned that she knows.
MIRANDA(cont'd)
Nigel told me. It was the right
choice, exactly what I would have done
when I was your age.
 111.

MIRANDAlooks out the window. They're approaching the next party

and the paparazzi are waiting outside, as the fabulous people
,stream into a Faris nightclub.
MIRANDA( cont ' d)
Not everyone can do that. Push their
feelings aside.
J\,nd now she's speaking. as much to herself as to ANDY.
MIRANDA(cont'd)
The more powerful you get, the more
you'll be judged and scrutinized, on
display. You'll miss things --
vacations, sunsets, moments with your
family. Some people in your life will
never accept your priorities. Not
everyone can withstand that pressure,
Andy. But now you know that you can.
ANDYstares at her, blown away by what MIRANDAis saying.
MIRANDA{cont'd)
And so now you know that you can have
my life. You can do what I do. Because
you can sacrifice the things that need•
to be sacrificed.
ANDY
But what if I can't do that? I mean,
what if that's not what I want?
MIR.ANDAlooks at her and smiles, and this time, for the first
time, her ·smile is almost maternal.
MIRANDA
Don't be silly, Andy. Of course that's
what you want. Everyone wants to be
me.
And with that she opens the door to the limo •.•
••• onto the red carpet where she is instantly embraced by the
flashing lights of the cameras.
ANDYquietly steps out behind MIRANDA.Squinting. She's never
~otten used to the lights.
MIRANDAmoves down the red carpet. We follow her. And it's not
until MIRANDAis about to open the aoor that she realizes •••

ANDYis no longer beside her.

 112.

EXT. CHAMPSELYSeES -- NIGHT

We see ANDY, walking up the Champs Elysees 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.
Suddenly her phone rings. She looks down at it, having forgotten
it was in her hand. The name MIRANDAglows in the dim light.
ANDYdoesn't break stride for a moment as she .••
.•• tosses the ringing phone into the nearest fountain.
INT. AIRPLANE -- DAY
.ANDYwalks past the first class cabin ••• down the aisle, where
she squeezes into a coach seat.
EXT. STREET -- DAY
We see ANDY, in her rental car, driving past Three Rivers
stadium in Cincinnati.
INT. HOUSE -- CINCINNATI -- DAY
1'.NDYstands at the door·to the nice, unhip Midwestern house she
g·rew up in. The door opens • RICHARD, her dad.
.ANDY into his arms. And he holds her, smiling .
E:XT. AIRPORT -- DAY
ANDYwalks out of JFK. LILY is standing outside in her beat-up
Bonda Civic.
LILY
Town car's in the shop.
ANDY
Shut up.
~~hey smile at each other.
INT. COFFEE SHOP -- NIGHT
ANDYwaits nervously. She is wearing jeans, an old sweater.
Still, she's different the hair, the shoes.
Suddenly NATE appears.
 113.

ANDY
Thanks for coming. I thought you might
stand me up.
NATE
I thought about it.
ANDY
Nate, from the minute I quit my job,
all I've thought about was what I
would sa~ to you. I've rehearsed it in
my head a million times. How I would
apologize for being such a jerk, for
getting carried away -- thinking that
what I was doing is mare important
than the people I care about it.
There's no excuse.far how I treated
you and how I let Miranda and my
ambition take me over until I became
this pod person ••• And now t~at you're
here ••• I feel like saying all that
isn't enough.
(beat)
I'm just so sorry.
NATE
I know you are.
ANDY
And I'm really happy for you. Lily
told me you got .the job in San
Francisco.
NATE
Yeah. How about that, huh? Can't
.believe it.
ANDY
I can.
Beat. They smile at each other. Okay with each other. Even
friends, maybe.
NATE
So, how about you? What are you going
to do now?
1\NDY
Not sure. But I actually have a job
interv.tew today.
Beat.
 114.

NATE
And that's what you're wearing?
It takes her a while to get this. She bursts into laughter and
they both laugh.
INT. WAITING ROOM-- DAY
ANDYsits nervously in the waiting room of the New York
observer, the total opposite of the Runway offices.
INT. OFFICE -- DAY
ANDYsits across from a scruffy guy in his early forties.
EDITOR
You know our pay is crap.
ANDY
That's fine.
He looks at her resume.
EDITOR
I loved your clips. 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.
ANDYlooks at him, confused.
EDITOR (cont'd)
I called over there for a reference,
left word with some snooty type girl,
next thing you know I got a fax from a
Miranda Priestly--
ANDYblanches.
 115.

EDITOR (cont'd}
L. . •. saying that of all the assistants
she had, you were by far her biggest
disappointment.
ANDYtakes a deep bre_ath •••.
EDITOR (cont'd) ·
But that you are destined to be a
gigantic success and if I don '.t hire
you I'm an idiot.
on ANDY, stunned,
EDITOR {cont'd)
So you must have done something right.

EXT. STREET -- DAY

ANDYwalks out of the job interview an_d out onto the street,
stunned.
EXT. STREET -- DAY
,ANDYwalks over to the Elias-Clarke building, looking at a place
that was, in .its way, a home to her •
.Ber eyes sweep up the building to the Runway offices.
\ INT. RUNWAY
-- DAY.
!

We see EM:!LY, back at her desk. The camera widens out so we can
see ....
••. a new SECONDASSISTANT, eager and nervous, in the place ANDY
used to sit.
/ EXT. STREET --DAY
ANDYlooks up, thoughtful, and suddenly she sees MIRANDAwalk
out of the building.
She stops. Looks over at MIRANDA.
And MIRANDAlpoks over, her eyee meeting ANDY.
A beat.
And then ANDYnods her head -- in thanks, in salutation, and in
farewell •••
 116.

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.

INT. CAR -- DAY

MIRANDA gets in, sits back in her seat ... And through her window
she can see ...

~NDY, a bounce in her step, walking away •..

And MIRANDA, alone, where no one can see her, finally breaks
into a real smile. Then she nods to her driver.

EXT. STREET -- DAY

We see MIRANDA' S limo pulling away ...

And ANDY, walking down the street, moving in different

directions further and further away as we ...

:FADE OUT

··---''