The Devil Wears Prada Script
The Devil Wears Prada Script
Screenplay by
Aline Brosh McKenna
MUSIC UP
FADE IN
STEAM ON A MIRROR
1B&C A lacy thong floats through the air... one of the GIRLS pulls 1B&C
it up her glossy legs... A comfy cotton pair of Jockey
bikinis is tugged out of a pile... ANDY pulls them on...
1F&G A series of quick cuts... ANDY eats a full breakfast -- eggs, 1F&G
bacon, bagel... One of the GIRLS carefully counts out seven
almonds and pours a huge cup of black coffee...
1H&I ANDY straightens a pile of newspaper clips from the Daily 1H&I
Northwestern with the byline ANDREA SACHS and proudly tucks
them into her hideous college-graduation-present briefcase...
One of the GIRLS takes Listerine breath strips, keys and a
Gucci moneyclip and shoves everything in a tiny Fendi clutch.
The GIRLS, looking flawless, fold their legs into taxis and
town cars as ANDY trots down the street and into the subway.
ANDY
What floor is Elias-Clarke? Human
Resources.
(CONTINUED)
2.
3 CONTINUED: 3
GUARD
Honey, you want West 57th.
6 OMITTED 6
CLACKER #1
You look awesome today. I can’t wear
cropped pants. I look like a whale.
CLACKER #2
Oh, please. I look terrible. I almost
called in fat today.
ANDY sits across from SHERRY, 40’s. On the wall are covers
from the Elias-Clarke magazines -- a news magazine, a cooking
magazine, a fitness magazine... and Runway.
ANDY
This article was about the Take Back
the Night march. This was a four-part
series on the impact of busing on the
public schools...
(CONTINUED)
3.
8 CONTINUED: 8
SHERRY
I have two positions available. One is
assistant to the road test editor of
Auto Universe magazine.
ANDY
(forces a smile)
And the other one--?
ANDY
Hi, I have an appointment with Emily
Charlton--
EMILY (O.S.)
Andrea Sachs?
EMILY (CONT’D)
Human Resources certainly has a
bizarre sense of humor.
(sigh, annoyed)
Follow me.
EMILY
Okay, so... I was Miranda’s second
assistant, but her first assistant
recently got promoted so now I’m the
first...
ANDY
And you’re replacing yourself.
(CONTINUED)
4.
10 CONTINUED: 10
EMILY
I’m trying. Miranda sacked the last
two girls after only a few weeks. We
need to find someone who can survive
here. Do you understand?
ANDY
Yes. Of course. Who’s Miranda?
EMILY
(eyes widening)
You didn’t just ask me that. She’s the
editor in chief of Runway. Not to
mention a legend. Work a year for her
and you can get a job at any magazine
you want. A million girls would kill
for this job.
ANDY
Sounds great. I’d love to be
considered.
EMILY
Andrea, Runway is a fashion magazine.
An interest in fashion is crucial.
ANDY
What makes you think I’m not
interested in fashion?
EMILY gives her a look. ANDY smiles, like she has no idea
what EMILY could mean.
EMILY
Oh my God. No. No, no, no.
ANDY
What’s wrong?
(CONTINUED)
5.
12 CONTINUED: 12
EMILY
(all but screaming)
She’s on her way -- tell everyone!
NIGEL
I thought she was coming in at 9.
EMILY
Her driver text-messaged. Her
facialist ruptured a disk. God, these
people!
EMILY (CONT’D)
I can’t even talk about it.
NIGEL
All right, everyone. Man your battle
stations!
(beat, bewildered)
Did somebody eat an onion bagel?
ANDY peers in. One of the EDITORS changes from kitten heels
to sky-high stilettos...
CLACKER
Sorry, Miranda.
...MIRANDA steps out of the elevator and for the first time
we see her head-on.
EMILY
Oh no. You’re still here. Go.
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.
(CONTINUED)
7.
18 CONTINUED: 18
ANDY
(to herself)
Wow, this is like self-esteem camp.
EMILY, phony smile on her face, trots down the hall to walk
MIRANDA to her office.
MIRANDA
I don’t understand why it’s so
difficult to confirm an appointment.
EMILY
I’m so sorry, Miranda. I did confirm
last night, but--
MIRANDA
The details of your incompetence do
not interest me.
MIRANDA (CONT’D)
Tell Simone I’m not approving the girl
she sent in for the Brazil layout. I
wanted clean, athletic, and smiling
not dirty, tired and paunchy...
MIRANDA (CONT’D)
RSVP yes to the Michael Kors party --
the car will drop me at 9:30 and wait
until I leave at 9:45... Tell Natalie
at Glorious Foods for the fortieth
time -- no, I don’t want the tortes
filled with warm rhubarb compote. I
want the chopped almonds.
(CONTINUED)
8.
19 CONTINUED: 19
MIRANDA (CONT’D)
Call my ex-husband and remind him the
Parent-Teacher conferences at Dalton
are tonight. Then call my husband and
tell him to meet me for dinner at that
place I went with Massimo...
EMILY
Right.
MIRANDA
And tell Richard I saw the pictures of
for the feature on female paramedics
and they’re all so unattractive. I
don’t understand. How hard is it to
find a decent-looking paramedic?...
Also, I need to see what Nigel has
called in for Gwyneth’s second cover
try...
MIRANDA (CONT’D)
Who is that?
EMILY
Nobody. Human resources sent her up
about the assistant job and I was pre-
interviewing her for you, but--
MIRANDA
I’ll do it. The last two you sent me
were total disappointments. Send her
in.
EMILY
She wants to see you.. Go go go....
MIRANDA
Who are you?
ANDY
My name is Andy Sachs. I recently
graduated from--
MIRANDA
What are you doing here?
ANDY
I think I could do a good job as your
assistant and--
ANDY (CONT’D)
(fast, blurting)
I came to New York to be a journalist
and I sent letters to everyone and I
finally got a call from Elias-Clarke
and met with Sherry in Human Resources
and basically it’s this or Auto
Universe.
ANDY stops, can’t quite believe she said that. MIRANDA takes
in this burst of honesty.
MIRANDA
So you don’t read Runway?
ANDY
No.
MIRANDA
And before today, you had never heard
of me?
(CONTINUED)
10.
20 CONTINUED: 20
ANDY
No.
MIRANDA
And you have no style or sense of
fashion.
ANDY
That depends on--
MIRANDA
That wasn’t a question.
ANDY
I was Editor in Chief of the Daily
Northwestern. I won a national
competition for college journalists
with a series on the janitor’s union --
MIRANDA
That’s all.
ANDY
--that uncovered the exploitation of--
ANDY (CONT’D)
Okay, you’re right. I don’t fit in
here. I’m not glamorous or skinny and
I don’t know much about fashion. But
I’m smart, I learn fast and I will
work very hard.
NIGEL
We got the exclusive on the yellow
Cavalli for Gwyneth, the one he showed
with a huge feathered headpiece, but
she’ll look like she’s working the
mainstage at the Golden Nugget, so
instead...
(CONTINUED)
11.
20 CONTINUED: (2) 20
ANDY
(to MIRANDA)
Thank you for your time.
She summons all her dignity and exits, walking past NIGEL,
who looks at MIRANDA.
NIGEL
Who IS that sad little person? Are we
doing a Before and After piece I don’t
know about?
EMILY
Andrea!
ANDY is with two of her friends, DOUG and LILY. DOUG is built
like a linebacker and very sweet. And her boyfriend, NATE,
great looking, no vanity. He’s the kind of guy who had his
own radio show in college and played intramural rugby.
It’s the end of NATE’S shift and he’s wearing his kitchen
whites. There are just a few people left in the restaurant
and at the bar.
NATE
Wow. You got a job at a fashion
magazine.
(beat)
Was it a phone interview?
ANDY
Don’t be a jerk.
DOUG
Miranda Priestly is famous for being
unpredictable.
(CONTINUED)
12.
22 CONTINUED: 22
ANDY
Okay, how is it that you know who she
is and I didn’t?
DOUG
I’m actually a girl.
LILY
That would explain so much.
DOUG
Seriously, Miranda is a huge deal. I
bet a million girls would kill for
that job.
ANDY
Yeah, it’s just that I’m not one of
them.
LILY
You have to start somewhere. Look at
this dump Nate works in. Paper
napkins? Hello?
NATE
(doesn’t miss a beat)
And Lily works at that gallery doing--
(to LILY)
What the hell is it that you do?
DOUG
Lucky for me, I have my dream job.
NATE
(huh?)
You’re a corporate research analyst.
DOUG
-- which totally rocks. The free
bagels on Thursday? The booze? The
whores?
DOUG (CONT’D)
You’re right. There are no bagels. And
only a few whores.
(CONTINUED)
13.
23 CONTINUED: 23
ANDY
You should see the way the girls dress
at Runway. I’m not sure I have
anything to wear to work.
NATE
You’re going to be answering phones
and getting coffee. You need a
ballgown for that?
ANDY
I think I might.
NATE
I think you look great. Always.
ANDY
You are so full of it.
NATE
Come on. Let’s go home. I can think of
something you can do without clothes.
NATE (CONT’D)
Asshole!
Dim light trickles in. NATE wakes up, pulls ANDY closer. Soon
they’re kissing. Their kisses become more urgent...
ANDY
Hello? Now?
She looks over at the alarm clock which reads: 6:15 AM.
14.
EMILY
Miranda decided to kill the Autumn
Jacket story for September -- she’s
pulling up the Sedona shoot from
October. You need to go into the
office right this second. Pick up her
coffee order on the way. Write this
down.
26 OMITTED 26
28 OMITTED 28
EMILY
Where are you?
ANDY
I’m almost there.
NIGEL
No...
ANDY
Yes. She gave me the job.
(CONTINUED)
15.
30 CONTINUED: 30
NIGEL
Clearly my opinion means nothing.
(extends his hand)
Nigel Kipling. Fashion Director. Let’s
see what we’re working with.
(examining her outfit)
Wow. It’s like Oklahoma and New Jersey
had a baby out of wedlock.
ANDY
Actually, I’m from Cincinnati.
NIGEL
No, it’s not possible. Not you.
NIGEL(CONT’D)
Welcome to the dollhouse, Baby.
MIRANDA
Is there a reason my coffee is not
here? Was I unclear in some way?
ANDY races down the hall, carrying the coffee to the bullpen.
Before ANDY can even say hello--
EMILY
I hope you know this is a very
difficult job for which you are
totally wrong and if you mess up MY
head is on the chopping block.
EMILY (CONT’D)
Okay, first of all, you and I answer
the phones. The phone MUST be answered
every single time it rings.
(MORE)
(CONTINUED)
16.
32 CONTINUED: 32
EMILY (CONT’D)
Phones roll to voicemail, she gets
very upset. If I’m not here, you are
chained to this desk.
ANDY
What if the building’s on fire or my
appendix explodes or something?
EMILY
One time an assistant left the desk
because she sliced her hand open with
a letter opener. Miranda missed
Lagerfeld right before he boarded a 17
hour flight to Australia. She now
works at TV Guide.
ANDY
Man the desk at all times. Got it.
EMILY
Miranda Priestly’s office. She’s not
available. I’ll tell her you called.
Yet again.
(back to ANDY)
Remember, you and I have totally
different jobs. You run errands, you
get coffee, etcetera. I am in charge
of her schedule, her expenses, her
appointments. And, most importantly...
(big drumroll, she beams)
I get to go with her to Paris for
Fashion Week in the fall.
EMILY (CONT’D)
(giddy)
I get to wear couture, go to all the
shows, all the parties, meet all the
designers. It’s divine.
(sighs happily, then,
abruptly)
(MORE)
(CONTINUED)
17.
32 CONTINUED: (2) 32
EMILY (CONT’D)
Okay, stay here. I’m going to the art
department to give them the Book.
EMILY (CONT’D)
The Book is a mock-up of everything in
the current issue. We deliver it to
Miranda’s apartment every night and
she returns it in the morning with her
notes. The second assistant is
supposed to do it, but Miranda is very
private and doesn’t like strangers
going to her house. So until she
decides you’re not a psycho, I get the
lovely task of waiting around for the
Book.
ANDY
How do I prove I’m not a psycho?
EMILY
I have no idea.
And with that, EMILY pivots and walks away. ANDY looks
around, unsure.
ANDY
Wait. What do I do if--
EMILY keeps walking. And sure enough, the phone rings. ANDY
looks at it.
ANDY (CONT’D)
Oh no.
(takes a breath, picks up)
Mrs. Priestly’s office.
(beat, wincing)
That’s what I meant. Miranda
Priestly’s office.
ANDY (CONT’D)
She’s in a meeting. Can I take
message? I’m sorry. Can you spell
Gabbana--
(they hang up)
Guess not.
She hangs up. Takes a breath. Okay. Got through one call.
(CONTINUED)
17A.
32 CONTINUED: (3) 32
JOCELYN
Run-through at 3, shoot 8 am tomorrow.
Of course. No problem.
JOCELYN (CONT’D)
Who the hell does she think I am,
Houdini?
ANDY
Hi, I’m Andy, I’m the new--
JOCELYN
Great. Fantastic. If you’ll excuse me,
I gotta go pull a bunch of fringe
purses out of my ass.
(CONTINUED)
18.
32 CONTINUED: (4) 32
ANDY turns and sees NIGEL walking down the hall carrying a
pair of stunning Dolce slingbacks. He holds out the shoes.
NIGEL
I guessed 8 1/2.
ANDY
That’s very nice of you, but I don’t
need those. Miranda hired me. She
knows what I look like.
NIGEL
Do you?
MIRANDA
Emily!
MIRANDA (CONT’D)
Emily!
NIGEL
She means you.
(nudges her)
Go.
MIRANDA
It’s too dark. I can’t see any of the
clothes...
PAUL
...I think he intended to use shadow
to show the contours of the...
MIRANDA
And what is this? I want the title of
the layout to bleed over the left side
of the photo...
PAUL
I see, well, we needed room for the
typeface to pick up the lines of the
dress, which is cut on the bias, so
we...
(CONTINUED)
18A.
33 CONTINUED: 33
MIRANDA
No, no, no. That’s not what I want. I
made that abundantly clear...
MIRANDA (CONT’D)
There you are, Emily. How many times
do I have to scream your name?
ANDY
Actually, it’s Andy.
MIRANDA gives ANDY a look. And ANDY notices she’s brought the
room to a screeching halt.
ANDY (CONT’D)
My name is Andy. Andrea, but people
call me Andy.
(CONTINUED)
19.
33 CONTINUED: (2) 33
MIRANDA
What a fantastic story. So
entertaining and full of useful
information.
MIRANDA (CONT’D)
I need ten or fifteen skirts from
Calvin Klein...
ANDY
What kind of--
MIRANDA
Please bore someone else with your
questions. Make sure we can get Pier
59 at 8 am tomorrow... Remind Jocelyn
I want to see a few of those satchels
Marc is doing in the pony... And tell
Simone I’ll take Frankie if Maggie is
not available tomorrow... And did
Demarchelier confirm?
ANDY
Demar--
MIRANDA
Get him on the phone.
As ANDY leaves --
MIRANDA (CONT’D)
And Emily.
ANDY turns.
ANDY
Yes?
MIRANDA
Do you have Demarchelier?
(CONTINUED)
20.
34 CONTINUED: 34
ANDY
Demarchelier... Demarchelier...
Just then EMILY appears behind ANDY. She dials the phone.
EMILY
I have Miranda Priestly calling.
(calls out)
I have Patrick.
ANDY
She called me in and asked me about
Pier 59. She said something about
Simone and Frankie and someone else.
And she needs skirts from Calvin
Klein. I think that’s the most
important thing, but I couldn’t tell.
Oh, and there was something about a
pony.
EMILY
Did she say which skirts?
(ANDY shakes her head No)
Did she say what kind?
(No.)
Color? Shape? Fabric?
(No. No. No.)
ANDY
I tried to ask her, but--
EMILY
You never ask Miranda. Anything.
(sighs)
All right, I’ll take care of the other
stuff. You go to Calvin Klein.
ANDY
Me?
EMILY
I’m sorry. Do you have a prior
commitment? Is there some hideous
pants convention?
(CONTINUED)
21.
34 CONTINUED: (2) 34
ANDY
So I just, what, go down to the Calvin
Klein store and ask them--
EMILY rolls her eyes so hard they almost eject from her head.
EMILY
You’re not going to the store.
ANDY
Of course not. I’m going... to his
house.
EMILY
(oh god why me?)
You are catching on quickly. We always
send assistants to a designer’s home
on their very first day. You’re going
to his showroom. I’ll give you the
address.
ANDY
Sorry. Got it. What’s the nearest
subway stop?
EMILY
Good God. You do not. Under any
circumstances. Take public
transportation.
On ANDY. I don’t?
ANDY steps out. Sees a Black Lincoln Town Car. She smiles.
ROY
Miranda’s new assistant. Congrats.
ANDY
Thanks.
(CONTINUED)
22.
36 CONTINUED: 36
ROY
You know--
ANDY
You’re going to say a million girls
would kill for my job.
ROY
Actually, I was going to say those
Jelly Beans are seven years old.
MIRANDA (O.S.)
Are you there?
ANDY
I’m about to walk in. I’ll call you as
soon as--
EMILY (O.S.)
While you’re out... Miranda needs you
to go to Hermes and pick up twenty
five scarves we ordered for her.
Cassidy forgot her homework at Dalton,
pick that up. And Miranda went out to
meet with Meisel, she’ll want more
Starbucks when she gets back.
Click.
LIZ, the sales rep, brings out a rack of skirts for ANDY.
LIZ
You must be new. Congratulations.
People would KILL for your job. I
would. I love Miranda. She’s such an
icon. I’ve dealt with her a couple
times, but I’m sure she doesn’t
remember.
(CONTINUED)
23.
38 CONTINUED: 38
MIRANDA (O.S.)
What do they have?
ANDY
There’s a um, variety of skirts. Let’s
see...
MIRANDA (O.S.)
Who’s there? Who are you dealing with?
ANDY
I’m sorry. What’s your name?
LIZ
Liz.
ANDY
It’s Liz.
MIRANDA (O.S.)
Get away from her. She is useless and
unattractive. Ask for Ivan, tell him
we’re doing a reshoot tomorrow and
need at least ten skirts.
LIZ
(eager)
What did she say?
ANDY
(wincing)
Is Ivan in by any chance?
LIZ
(crushed)
I’ll get him.
ANDY walks in, laden with stuff and more coffee and snacks.
EMILY springs up.
(CONTINUED)
24.
41 CONTINUED: 41
EMILY
Oh my God. What took you so long? I
have to pee.
ANDY
You haven’t peed since I left?
EMILY
You do the coat.
EMILY (CONT’D)
Now, be prepared. The run-through is
at 12:30 and people are panicking, so
the phone is going to be ringing off
the hook.
ANDY
The run-through. Right.
EMILY
(exasperated)
The editors bring in options for a
shoot and Miranda chooses. She chooses
every single thing in every single
issue. Run-throughs are a huge deal.
And indeed ANDY can see EDITORS running in and out of their
offices, rack of clothes and accessories flying.
ANDY
Is it always like this?
EMILY
No. Sometimes it’s busy.
EMILY (CONT’D)
After the loo, Serena and I are going
to lunch.
(to SERENA, re: ANDY)
This is her. The new me.
(CONTINUED)
24A.
41 CONTINUED: (2) 41
EMILY (CONT’D)
I told you.
SERENA
I thought you were kidding.
EMILY
Oh, no. I was quite serious.
EMILY (CONT’D)
I get twenty minutes for lunch, you
get fifteen. When I come back, you can
go.
(CONTINUED)
25.
41 CONTINUED: (3) 41
ANDY
You eat lunch?
NIGEL
Corn chowder. Interesting choice.
NIGEL (CONT’D)
You do know that cellulite is one of
the ingredients of corn chowder.
They walk over to the register, which has a long line. A few
GIRLS are openly gaping, amazed that ANDY selected chowder.
ANDY
None of the girls here eat anything?
NIGEL
Not since 2 became the new 4 and 0
became the new 2.
ANDY
I’m a 6.
NIGEL
Which is the new 14.
Then ANDY notices she’s dripped on her blouse. She dabs it.
NIGEL (CONT’D)
Something tells me you’ve got more
polyblend where that came from.
ANDY
Okay. You think my clothes are
hideous. I get it, okay?
(MORE)
(CONTINUED)
26.
42 CONTINUED: 42
ANDY (CONT'D)
But I’m not going to be working in
fashion forever. I don’t see any
reason to change everything about
myself because I have this job.
NIGEL
You’re right. That’s what this multi-
million dollar industry is all about.
Inner beauty.
NIGEL (CONT’D)
Miranda wants us upstairs. Chairman’s
on his way down to her office.
ANDY and NIGEL get in. IRV RAVITZ is already riding up.
NIGEL nods, deferential.
NIGEL
Mr. Ravitz.
IRV
Nigel. Issue going well?
NIGEL
Our biggest September ever.
IRV
Great. I heard Miranda killed Autumn
Jackets and pulled up the Sedona
shoot. What’s that costing me?
NIGEL
About 300,000.
IRV
(smiles)
Must have been some lousy Jackets.
But I’m sure she knows what she’s
doing.
NIGEL
Always.
(CONTINUED)
26A.
43 CONTINUED: 43
IRV
Irv Ravitz.
NIGEL
I’m sorry... this is Andy Sachs,
Miranda’s new assistant.
IRV
Congratulations, young lady. A
million girls would kill for that job.
NIGEL
(to ANDY)
Chairman of Elias Clarke. You know
what they say, tiny man, huge ego.
(checks his watch)
We should have taken the stairs.
44 OMITTED 44
MIRANDA
No... No... No... I swear I don’t
understand why it’s so difficult for
you to pull together a decent run-
through. You had hours to prepare...
(continues clicking)
Where are all the advertisers?
LUCIA
We have some pieces from Banana
Republic and--
(CONTINUED)
28.
45 CONTINUED: 45
MIRANDA
We need more.
MIRANDA (CONT’D)
What do you think?
NIGEL
You know me. A full ballerina skirt
with a hint of saloon and I’m on
board.
MIRANDA
Is it too much like the--
NIGEL
--LaCroix from July? I thought of
that, but with the right accessories,
it could work...
MIRANDA
Where are the belts for this skirt?
JOCELYN
Tough call. They’re so different.
ANDY lets out a little giggle. And it’s like she set off a
grenade. Slowly everyone turns to her.
MIRANDA
Is something funny?
ANDY
No, no, no. It’s just...
ANDY (CONT’D)
It’s just that both of those belts
look the same to me. I’m still
learning about this stuff, so--
(CONTINUED)
28A.
45 CONTINUED: (2) 45
MIRANDA
This... stuff? Okay. I understand. You
think this has nothing to do with you.
You go to your closet and select, say,
that lumpy blue sweater because you're
trying to tell the world that you take
yourself too seriously to care about
what's on your body. What you don't
know is that your sweater is not blue.
It's not even sky blue. It's cerulean.
You also don't know that in 2002, De
La Renta did a collection of cerulean
gowns, Yves St. Laurent showed a
cerulean military jacket, Dolce did
skirts with cerulean beads, and in our
September issue we did the definitive
layout on the color. Cerulean quickly
appeared in eight other major
collections, then the secondary and
department store lines and then
trickled down to some lovely Casual
Corner, where you no doubt stumbled on
it.
(MORE)
(CONTINUED)
29.
45 CONTINUED: (3) 45
MIRANDA (CONT'D)
That color is worth millions of
dollars and many jobs. And here you
are, thinking you've made a choice
that exempts you from the fashion
industry. In truth, you are wearing a
sweater that was selected for you by
the people in this room. From a pile
of stuff.
MIRANDA (CONT’D)
That’s all.
ANDY
You should have seen the look she gave
me. I thought the flesh was going to
melt off her face.
NATE laughs.
ANDY (CONT’D)
It’s not funny. She could be the most
horrendous person I’ve ever met. She’s
not happy unless everyone around her
is panicked, nauseous or suicidal. And
all the Clackers just WORSHIP her...
(off his confused look)
They call them Clackers. Their
stilettos in the marble lobby...
clack, clack, clack...
ANDY (CONT’D)
And they all act like they’re curing
cancer or something. The amount of
time and energy they spend on things
that DON’T MATTER!!! Poring over these
minute details. And for what?
(MORE)
(CONTINUED)
30.
46 CONTINUED: 46
ANDY (CONT’D)
So tomorrow they can spend an extra
300,000 dollars reshooting something
that was probably fine to begin with?
To sell people things they don’t need?
ANDY (CONT’D)
God, I’m not even hungry anymore.
Maybe that’s why everyone there is so
skinny.
NATE
Gimme that. There’s about eight
dollars worth of Jarlsberg in there.
ANDY
I just have to stick it out for one
year. Then I can do what I came to New
York to do. I can’t let Miranda get to
me. I won’t.
NATE
Easy, Killer.
ANDY
And give me that sandwich.
NATE
Oh, no way. It’s mine now.
MIRANDA walks past ANDY. ANDY puts her best face on.
ANDY
Good morning, Miranda!
MIRANDA
Get me Isaac.
IN HER OFFICE.
MIRANDA
These eggs are frigid.
MIRANDA
Pick up the Polaroids from the
swimwear shoot.
ANDY opens the door onto in a narrow room filled with semi-
naked women changing into bikinis.
MIRANDA
The brakes in my car are making a
weird noise. Take it in.
MIRANDA
We need the hat from the finale of the
Zac Posen show.
32.
MIRANDA
The girls need new boogieboards for
spring break.
EMILY (V.O.)
They also need flip flops.
ANDY does a 180 with the boogie boards, almost decking some
people.
MIRANDA
Pick up my shoes from Manolo.
CUT TO: ANDY carrying a huge Manolo bag filled with shoe
boxes...
MIRANDA
...and while you’re out, get Patricia.
MIRANDA
Get me Isaac!
(CONTINUED)
33.
48 CONTINUED: 48
ANDY
I have Isaac.
ANDY (CONT’D)
Wow. Thank God it’s Friday, huh?
ANDY (CONT’D)
My Dad’s coming in from Ohio this
weekend. We’re having dinner tonight.
Then we’re seeing “Chicago”...
ANDY (CONT’D)
You doing anything fun this weekend?
EMILY
Yes.
ANDY
Dad! I’ll be right down!
RICHARD
Here. Don’t want you to get behind
in your rent.
ANDY
How did you--
(realizes)
I’m gonna kill Mom. Thank you.
(CONTINUED)
34.
50 CONTINUED: 50
ANDY (CONT’D)
It’s so good to see you. You want
to start grilling me now or should
we wait until after dinner?
RICHARD
(grins)
Thought I’d let you at least enjoy
the bread basket first.
ANDY
(smiles)
Oh, just go ahead.
RICHARD
We’re just a little worried. We get
emails from you at your office at 2
am, your pay is terrible, you don’t
get to write anything...
ANDY
(still trying to keep it
light)
Hey. Not fair. I wrote those e-
mails.
RICHARD
I’m just trying to understand why
someone who was accepted to
Stanford Law turns that down to be
a journalist and now you’re not
even doing that--
ANDY
Oh please. Not this again.
RICHARD
Why did you even bother applying to
law school?
ANDY
Because it’s what you wanted. This is
what I want.
RICHARD
This? Being a secretary?
ANDY
I’m an executive assistant.
(CONTINUED)
35.
50 CONTINUED: (2) 50
RICHARD
You hang coats, you go to Starbucks,
you’re a secretary, Andy.
ANDY
You have to trust me. Being Miranda’s
assistant opens a lot of doors. Emily
is going to Paris with Miranda in a
few months, she’ll meet editors and
writers from every important magazine.
ANDY (CONT’D)
Dad, I swear. This is my break. This
is my chance. This is my--
Just then the cell phone rings. ANDY looks down at it.
ANDY (CONT’D)
-boss.
ANDY (CONT’D)
I have to get it.
MIRANDA
My flight is cancelled... Some absurd
weather problem.
MIRANDA (CONT’D)
I have to get home. Tonight. The twins
have a recital at school tomorrow
morning.
ANDY
Absolutely, Miranda. Let me see what I
can do.
(CONTINUED)
36.
52 CONTINUED: 52
ANDY (CONT’D)
(apologetic)
I’m so sorry, Dad. I have to deal with
this.
QUICK CUTS of ANDY on the cell phone as she and RICHARD walk
through Times Square.
ANDY
I need a jet from Miami to New York...
(jump cut)
A jet, any kind of jet...
(jump cut)
Yes, tonight, right now.
(jump cut)
From Miami to New York.
(jump cut)
As soon as possible. Please call me
back as soon as the situation changes.
(jump cut)
I’m trying, Miranda. No one is flying
out because of the weather.
MIRANDA
Please. It’s just drizzling. Someone
must be getting out. Call Donatella
and get her jet. Call everyone with a
jet -- Irv, Armani...
ANDY (O.S.)
But--
RICHARD
Andy, come on. Let’s go in.
(CONTINUED)
37.
55 CONTINUED: 55
ANDY
I’ve done everything I could think of.
I don’t know what else to do.
ANDY (CONT’D)
I’m sorry, Dad.
(she picks up)
Miranda, you don’t understand. Even if
I get you a plane, they won’t let you
take off tonight and--
MIRANDA
Emily. Stop making excuses. GET ME
HOME.
ANDY
Oh my God. She is going to murder me.
RICHARD
Would it help if I talked to her?
MIRANDA
The girls’ recital was wonderful. They
played Rachmaninoff and everyone loved
it. Except for me... because I was not
there.
ANDY
I’m so sorry, Miranda.
MIRANDA
Do you know why I hired you?
MIRANDA (CONT'D)
I always hire the same girl, stylish,
slender, worships the magazine. And
often they turn out to be
disappointing and stupid.
ANDY blanches.
(CONTINUED)
38.
56 CONTINUED: 56
MIRANDA (CONT'D)
But you, with your fancy resume and
your big speech about your so-called
work ethic-- I thought you would be
different. I thought, go ahead, take a
chance, hire the smart, fat girl.
MIRANDA (CONT’D)
I had hope. I always have hope. But
you’re as disappointing as anyone
else.
ANDY
I did everything I could think of--
MIRANDA
That’s all.
And she goes back to her work. ANDY stands there a second,
then leaves. And we see her eyes start to well.
EMILY
Excuse me, where do you think you--
ANDY
She hates me, Nigel.
NIGEL
And that’s my problem because -- wait,
no. Not my problem.
ANDY
I need your help. I don’t know what to
do. It’s like I’m completely beneath
her contempt.
NIGEL
So quit.
(CONTINUED)
38A.
58 CONTINUED: 58
NIGEL (CONT’D)
We could replace you in five minutes.
With someone who really wants this
job.
ANDY
That’s not fair. I’m lucky to be
working for Miranda -- I didn’t get
that at first, but I do now. I want to
be here. But it just seems like no
matter how hard I try, I don’t do
anything right.
(CONTINUED)
39.
58 CONTINUED: (2) 58
NIGEL
Andy, please. Be serious. You’re not
trying. You’re whining.
NIGEL (CONT’D)
You want me to say poor you, Miranda
is picking on you? She’s just doing
her job. Wake up, Six. You’re working
at the place that first published some
of the major artists of the century --
Halston, De La Renta, Lagerfeld. And
what they made is cooler than art,
because you live your life in it -- I
mean, not you, but some people. This
is not just a magazine. It’s a shining
beacon of hope for, oh, I don’t know,
say a young boy growing up in Rhode
Island with six brothers, pretending
to go to soccer practice when he was
actually at sewing class and reading
Runway at night under the covers with
a flashlight.
NIGEL (CONT’D)
You have no idea how many legends have
walked these halls and what’s worse,
you don’t care. Because this is a
“stepping stone” for you. This place,
that people would die to work, you
deign to work. And you want to know
why she doesn’t give you a kiss on the
forehead and put a gold star on your
homework?
ANDY
Okay, fine!
He looks at her.
ANDY (CONT’D)
You’re right. I’m screwing this up.
And I know this could be a big break
for me. I’m going to try harder, I
promise. But there’s one thing I can’t
do by myself.
(CONTINUED)
40.
58 CONTINUED: (3) 58
NIGEL
Oh, no. No way...
ANDY
You do it with the other girls.
NIGEL
The other girls are different. They
really want it.
ANDY
Please, Nigel. Don’t make me beg...
...a large room piled high with shoes, bags, clothes, furs,
jewelry. ANDY follows, looking around at everything.
NIGEL
I don’t know what you expect me to do.
These are all sample sizes -- 2 and 4.
ANDY
A... poncho?
NIGEL
You’ll take what I give you and you’ll
like it.
NIGEL (CONT’D)
Versace peasant skirt -- we can pull
it up, belt it, make it a dress... Miu
Miu boyfriend cardigan... Alberta
Ferretti dress -- smocked, very
forgiving. And let’s find you some
Chanel. You’re in desperate need of
Chanel.
(CONTINUED)
41.
59 CONTINUED: 59
NIGEL (CONT’D)
Don’t just stand there. We have to get
you to the beauty department too. And
God knows how long that will take.
EMILY
I have no idea why Miranda hired her.
SERENA
Me, neither. The other day we were in
the Beauty Department and she held up
the Shu Uemura eyelash curler and said
“What is this?”
EMILY
I knew from the moment I saw her that
she was a complete and utter--
EMILY (CONT’D)
(voice trailing)
--disaster.
ANDY sits down at her desk, pretends she didn’t hear her.
EMILY is still staring. ANDY’S phone rings.
ANDY
Miranda Priestly’s office. She’s not
in. I’ll leave word.
ANDY (CONT’D)
(in EMILY’S posh accent)
Can I help you, luv?
(CONTINUED)
41A.
61 CONTINUED: 61
ANDY
What do you think?
NATE
I think we better get out of here
before my girlfriend sees me with you.
She smiles, grabs his hand and walks him down the alley. To
where her town car is waiting.
(CONTINUED)
42.
61 CONTINUED: (2) 61
ANDY
Wanna lift, stranger?
She goes into the subway, then comes out of the subway in yet
another great outfit...
MIRANDA
The gowns are fabulous, Ralph. We’re
using the burgundy for the cover try
and the lemon chiffon for the goddess
story.
And just then she looks up and sees ANDY. The transformed
ANDY. And her reaction of approval is tiny, but it’s there.
64 OMITTED 64
42A.
ANDY
Bang & Olufsen. Charlie Rose sent it
to Miranda for her birthday.
(MORE)
(CONTINUED)
43.
65 CONTINUED: 65
ANDY (CONT'D)
I looked it up online. It’s 750
dollars. She doesn’t want it, so Emily
told me to keep it. Oprah sent a
present. So did Jessica Simpson. And
Nelson Mandela.
NATE
All for a woman who doesn’t need
anything. Perfect.
She reaches into her bag, hands out perfume, cosmetics. Etc.
ANDY
Here... A bunch of Kiehl’s, some Mason
Pearson hair brushes...
DOUG
Dammit, I love your job.
ANDY
It’s called “Pink”. For women.
DOUG
Men can be pink. I have a pink side.
LILY
Please. We’re eating.
LILY (CONT’D)
Where did you get this? This is the
new Marc Jacobs, sold out everywhere.
It’s nineteen hundred dollars. I can’t
take this.
ANDY
Sure you can.
NATE
Why do women need so many bags? You
get one, it holds all your junk,
aren’t you done?
(CONTINUED)
44.
65 CONTINUED: (2) 65
DOUG
Fashion is not about utility, Nate. An
accessory is merely a piece of
iconography used to express individual
identity.
LILY
And it’s preeeetty.
DOUG
That too.
ANDY
Thing is, it turns out there’s a lot
more to Runway than fancy purses...
you know who’s coming into the office
Friday? John Updike.
NATE
Why, does he need a sweater?
They all laugh. ANDY plucks the current issue of Runway out
of her purse.
ANDY
(a bit peeved)
Look, there’s a piece by Jay
McInerney, an essay by Joan Didion, an
interview with Christiane Amanpour
oh...
NATE
Look who’s drinking the KoolAid.
She gives him a look. Just then ANDY’S cell phone rings.
MIRANDA. NATE grabs it.
ANDY
Give me the phone.
NATE
Oh, look. The Dragon Lady. Of course.
ANDY
Give me the phone.
(CONTINUED)
45.
65 CONTINUED: (3) 65
LILY
I’ll talk to her. Tell her she needs
to get her own scrambled eggs.
ANDY
Come on, guys. Give me the phone!
ANDY (CONT’D)
Hello, Miranda.
(beat)
Fine. No problem. I’m leaving right
now.
(hangs up)
You guys didn’t need to be such
assholes.
ANDY rings the buzzer. No answer but she can hear VOICES
behind the door. She pushes it and it opens. Inside is a loft
with a party going on.
ANDY looks around -- it’s one of those New York parties you
think you’ll never be invited to. She walks over to one of
the super hot women.
ANDY
I’m looking for James Holt...
ANDY (CONT’D)
Hi, I’m Andy. I’m picking up for
Miranda Priestly.
(CONTINUED)
46.
69 CONTINUED: 69
JAMES
You must be the new Emily. Let me see.
JAMES (CONT’D)
Open-woven leather, pieced by hand and
finished with a suede trim. Who made
this fantastic thing?
ANDY
You.
JAMES
Duh.
JAMES (CONT’D)
It’s a sketch of Miranda’s dress for
the benefit, the centerpiece of my
spring collection. Top secret stuff.
ANDY
I’ll guard it with my life.
JAMES
Come on. You work for Miranda, you
must be in desperate need of hard
liquor.
He walks her to the bar. She tries not to stare at the party
GUESTS... is that Lenny Kravitz? Is that Julian Schnabel?
JAMES (CONT’D)
(to the BARTENDER)
She’ll have the punch.
(hands her the punch)
It’s deadly. Have fun!
CHRISTIAN
He’s right. I had the punch at James’s
last party, woke up in Hoboken wearing
nothing but boxers and a cowboy hat.
(CONTINUED)
47.
69 CONTINUED: (2) 69
ANDY
Hi. I, um... I have to go.
CHRISTIAN
But you want to stay. You’ve never
been to a party like this.
ANDY
God, I love it when total strangers
tell me how I feel.
CHRISTIAN
That’s my way.
(extends his hand)
Christian Thompson.
ANDY
Christian Thompson? You’re kidding.
You write for every magazine I love. I
actually reviewed your collection of
essays for my college paper.
CHRISTIAN
Did you mention my good looks and
killer charm?
ANDY
No, but I did point out some factual
errors and a penchant for
confessional semi-fiction that borders
on self-indulgent.
CHRISTIAN
You and the Times.
(laughs)
And what do you do?
ANDY
Well, I want to work somewhere like
the New Yorker or Vanity Fair. I’m
also a writer, but--
CHRISTIAN
Is that right? I should read your
stuff. Send it over.
ANDY
Thank you. That would be great.
Anyway, for now I’m Miranda Priestly’s
assistant.
(CONTINUED)
48.
69 CONTINUED: (3) 69
CHRISTIAN
You’re kidding. Oh, that’s too bad.
You’ll never survive Miranda.
ANDY
Excuse me?
CHRISTIAN
You’re smart, you’re nice, you have a
point of view. You can’t do that job.
ANDY
I have to go.
CHRISTIAN
Let me guess. You have a boyfriend
waiting. From... not high school...
college? Nice-looking guy, devoted,
about to ask you to move in with him,
but you’re not sure...
ANDY
You. Are not a nice person.
CHRISTIAN
Nice to meet you, Miranda girl.
ANDY
For your information, he’s really
handsome. And we already live
together!
NATE
You got the nuclear briefcase from the
undisclosed location. I’m proud of
you.
(CONTINUED)
49.
70 CONTINUED: 70
ANDY
(surprised)
Where are you going?
NATE
Doug and some of his banker buddies
are playing Texas Hold ‘Em at his
apartment. Gonna go get me some of
that Wall Street cash.
ANDY
But I came back so we could hang out.
NATE
(lightly)
Man, I’m sorry. You didn’t make that
crystal clear when you stormed off
after calling me an asshole.
ANDY
Okay, look, I’m sorry about that--
NATE
I’ll see you later, okay?
NATE (CONT’D)
Hello?
(the way ANDY talks to
MIRANDA)
Sure, Doug! I’ll get on it ASAP! A six-
pack? No problem. Budweiser or
Michelob? Chilled? Of course...
71 OMITTED 71
MIRANDA
Emily!
(CONTINUED)
50.
72 CONTINUED: 72
MIRANDA (CONT’D)
Call James Holt’s office. Tell them I
want to move the preview to today at
12:30. And tell everyone else. Be
ready to leave in half an hour.
NIGEL
They’re not expecting us until
Tuesday. Did she say why?
ANDY
Yes, she explained every detail of her
decision-making, then we brushed each
other’s hair and gabbed about American
Idol.
NIGEL
I see your point.
ANDY (O.S.)
What’s a preview, anyway?
NIGEL (O.S.)
Miranda insists on seeing all the
designer’s collections before they
show them.
ANDY (O.S.)
And she tells them what she thinks?
NIGEL (O.S.)
In her way. There’s a scale. One nod,
good. More than one nod -- very good.
There is only one actual smile on
record -- Tom Ford, 2001. If she
doesn’t like it, she shakes her head.
(CONTINUED)
51.
76A CONTINUED: 76A
MIRANDA
Just let us out here.
She gets out. ANDY scrambles to grab her stuff and follow.
NIGEL
And then there’s the pursing of the
lips.
ANDY
What does that mean?
NIGEL
Catastrophe.
ANDY
Last time I was here, James was having
this cool party and--
(off MIRANDA’s look)
--and this is why you don’t like
people riding up in the elevator with
you.
Another town car pulls up and NIGEL, LUCIA, JOCELYN and some
of the other Runway editors and assistants pile out.
MIRANDA walks in. JAMES is standing there with his staff and
his Public Relations team. JAMES is clearly buzzing.
JAMES
Miranda. Great to see you.
(CONTINUED)
52.
83 CONTINUED: 83
JAMES (CONT’D)
You got the sketches for your dress.
MIRANDA
Yes. I did.
Beat. And she conspicuously does not say she liked them.
MIRANDA (CONT’D)
Thank you.
And her tone is very remote. And now we can see JAMES really
start to quake.
JAMES and his people stand off to the side as a few fit
MODELS begin walking out in various outfits.
JAMES
This season I started to think about
the intersection of East and West...
JAMES (CONT’D)
I didn’t want to do, say, a blonde in
a kimono. It’s more about capturing
the Eastern sensibility in the Western
woman. Kind of Uma Thurman in Kill
Bill in a kick ass dress with an obi
belt. The modern woman as Geisha meets
rock star, with a little Desperate
Housewives thrown in.
JAMES (CONT’D)
And this, of course, is the dress
we’re making for you.
(CONTINUED)
53.
83 CONTINUED: (2) 83
An overly busy red dress with too many fashion ideas being
attempted at one time.
JAMES (CONT’D)
A lush Asian fabric, tailored, but
with a bit of movement to work against
the modernism.
The Runway team files out, MIRANDA first. ANDY and NIGEL walk
together.
ANDY
(sotto voce)
She pursed her lips and because of
that he’s going to change his entire
collection?
NIGEL
You still don’t get it, do you? Her
opinion is the only one that matters.
MIRANDA
Make sure you confirm my dinner with--
ANDY
--Galliano at Pastis. Done.
MIRANDA
And I need to see the look book for
the November denim shoot.
ANDY
It’s in the car.
MIRANDA
Fine.
MIRANDA (CONT’D)
Oh, and you’ll be bringing The Book to
my home tonight. Emily will give you
the key, Andrea.
54.
85 OMITTED 85
CLOSE ON
EMILY
Guard this with your life.
ANDY
Of course. If I can deliver the Book,
that means I must have done something
right, that she doesn’t think I’m
psycho. Oh, and she actually called me
Andrea instead of Emily. Isn’t that
great?
EMILY
(deadpan)
Yeah. Whoopee. Okay, now, it’s very
important that you do EXACTLY what I’m
about to tell you.
EMILY (V.O.)
The Book is assembled by 10 or 10:30,
so you must wait around until then.
INTERCOM
(loud)
Book’s ready!
EMILY (V.O.)
You’ll be delivering Miranda’s dry
cleaning with the book.
ANDY whisks across town. It’s late, the streets are quiet.
EMILY (V.O.)
The driver will take you to Miranda’s
townhouse.
EMILY (V.O.)
Let yourself in.
92 OMITTED 92
On EMILY, intense.
EMILY
Do not talk to anyone. Do not look at
anyone. That is of the utmost
importance. You must be invisible. Do
you understand?
94 OMITTED 94
EMILY (V.O.)
Open the door, walk across the foyer,
then hang the dry cleaning in the
closet across from the staircase.
ANDY looks. There are two identical doors on each side of the
staircase. Dammit.
(CONTINUED)
56.
95 CONTINUED: 95
ANDY
Shit.
Suddenly she hears a noise. She looks up and sees two girls
of about 12, CASSIDY and CAROLINE, peering down the
staircase.
CASSIDY
It’s that door. On the left.
CAROLINE
You can give us the Book.
CASSIDY
We’ll give it to her.
CAROLINE
It’s okay. Come on up.
ANDY
But I can’t... Shh...
CASSIDY
It’s okay.
MIRANDA
What did you want me to do? Walk out
in the middle of a photo shoot?
ANDY freezes.
(CONTINUED)
57.
95 CONTINUED: (2) 95
STEPHEN
I rushed out of an investment
committee meeting early, then I sat
there waiting for you for almost an
hour...
MIRANDA
We were in a loft near the Seaport. My
phone didn’t work. I told you.
STEPHEN
...and I knew what everyone in the
restaurant was thinking. There he is,
waiting for HER again--
And before ANDY can stop herself, her eyes float over to
STEPHEN’S. Eye contact. Her heart does a flip. And her eyes
dart over to MIRANDA and they make eye contact as well...
ANDY crawls into bed next to NATE, heart racing, and looks up
at the ceiling, freaking out.
ANDY walks in, already bracing herself, and runs into EMILY,
emerging from MIRANDA’S office, very upset.
ANDY
Okay, before you start freaking out,
it wasn’t such a big deal. The twins
said hello, I said hello back, then I
went upstairs and gave the book to
Miranda--
EMILY
You went upstairs? Oh my God. Why
didn’t you just climb into bed with
her and ask for a bedtime story?
(CONTINUED)
58.
98 CONTINUED: 98
ANDY
You’re right. I made a mistake.
EMILY
Don’t you understand? If you get
fired, that might jeopardize Paris for
me. And if that happens, I will search
every Blimpie’s in the tri-state area
until I find you and kill you.
ANDY
Wait a second. She’s going to fire me?
EMILY
I don’t know. She’s not happy.
And they hear MIRANDA’S voice, ringing out from the office.
MIRANDA
An-dre-a.
ANDY
Miranda, about last night, I--
MIRANDA
I need the new Harry Potter book for
the twins.
ANDY
Of course. I’ll run down to Barnes &
Noble right now.
MIRANDA
Did you fall down and smack your
little head on the pavement?
ANDY
Not that I can recall.
MIRANDA
We have all the published Harry Potter
books. The girls want to know what
happens next.
(CONTINUED)
59.
99 CONTINUED: 99
ANDY
So you want the... unpublished
manuscript.
MIRANDA
We know everyone in publishing.
Shouldn’t be a problem.
(beat)
You can do anything, right?
ANDY
She doesn’t get it. There’s no way I
can get that book. I don’t care who I
call.
Just then MIRANDA walks out. ANDY springs up to get her coat.
MIRANDA
My girls are leaving on the train to
their Grandmother’s at 3. They’ll need
the book by then.
ANDY
Of course.
MIRANDA
I’d like my steak in fifteen minutes.
ANDY
No problem.
MIRANDA exits.
ANDY (CONT’D)
Great. I have to get the impossible
manuscript in four hours. And Smith
and Wollensky’s doesn’t open until
11:30. How am I supposed to get the
steak?
(paces)
She’s going to fire me, isn’t she?
She’s just prolonging the kill. Like
an evil cat with a tiny unfashionable
mouse.
(CONTINUED)
60.
100 CONTINUED: 100
EMILY
Oh look, you’re getting paranoid. Yay.
It’s not just me. Listen, don’t freak
out. There could be a silver lining
here.
EMILY (CONT’D)
When Miranda gives someone an
impossible task, it generally means
one of two things. One, she thinks you
can actually pull it off.
ANDY
Or--
EMILY
Or, you know, that thing you were
saying about the cat.
ANDY
It’s for Miranda Priestly... it’s very
important. Yes, I know, it’s
impossible to get...
ANDY
Anything? Can you try again? I would
really appreciate any leads at all...
thanks. No pressure. If I don’t have
it by 3, I’m fired.
MARTY
What an amazing job, working for
someone like Ms. Priestly.
(CONTINUED)
61.
103 CONTINUED: 103
ANDY
Yeah. It’s a real party.
ANDY (O.S.)
You probably don’t remember me. We met
at James Holt’s party and I work for
Miranda Priestly and--
CHRISTIAN
Of course I remember you, Miranda
Girl. You shaken off the college
boyfriend yet?
ANDY
Listen. I desperately need a favor.
And I don’t know many people in the
book world...
CHRISTIAN
The Harry Potter manuscript? You’ve
gotta be kidding.
ANDY (O.S.)
I’m sorry to ask you. I’m desperate.
CHRISTIAN
Just tell her it can’t be done. You’ll
have to come up with a plan B.
On ANDY.
ANDY
We’re talking about Miranda Priestly.
There is no plan B, only plan A.
62.
ANDY runs down the hall with MIRANDA’S food, passing EMILY.
ANDY
Is she back? Am I fired?
EMILY
You know, I rarely say this to people
who aren’t me, but you need to calm
down.
MIRANDA
What is that doing here? I ordered it
ages ago.
MIRANDA (CONT’D)
Luckily, before I starved to death,
Irv invited me to lunch.
(re: steak)
Get rid of that. I’ll be back at 3.
Please have my Starbucks order
waiting.
MIRANDA (CONT’D)
And if you don’t have the Harry Potter
book by then, don’t come back.
ANDY carries a tray with all the food on it into the kitchen.
She positions the tray over the garbage and tilts it, letting
everything -- steak, china, silverware -- fall into the can.
63.
ANDY
(on the cell phone)
Harry Potter.
(jump cut)
The manuscript.
(jump cut)
It’s for Miranda Priestly.
(jump cut to)
I need it today.
(to the BARRISTA)
Can you make it extra hot? Like,
center of the sun hot?
ANDY (CONT’D)
Sorry, my boss is particular.
(into phone)
Are you sure? You’re my last shot.
(sighs)
All right, well, thanks for trying.
BARRISTA
Sounds like a great job.
ANDY
Actually, it is. A million girls would
kill for it.
ANDY
Want a mocha?
NATE on the phone. Intercut with him and ANDY on the street.
NATE
Quit? Are you sure?
ANDY
I failed. She’s going to fire me
anyway. Might as well beat her to the
punch.
NATE
Wow. Good for you. Congratulations,
Andy. You’re free.
ANDY
Call you later.
ANDY hangs up, and immediately her phone rings again. She
looks down. Assuming it’s NATE.
ANDY (CONT’D)
Hello?
CHRISTIAN (O.S.)
I’m brilliant. Really. Monuments
should be erected in my honor.
WE INTERCUT
ANDY
You didn’t.
CHRISTIAN
Oh yes. A friend of a friend does the
cover art. She has the manuscript.
ANDY
No. That would mean I actually... did
something right.
(stunned)
But see... thing is... See, I was
about to...
(CONTINUED)
65.
110pt CONTINUED: 110pt
CHRISTIAN
You want this, you better hurry. Meet
me at the St. Regis.
ANDY
Yes, I’m meeting someone...
CHRISTIAN
You have one hour.
ANDY
I’m begging you. You have to stall
her. Just ten minutes.
HENRY
Too much traffic on 5th. UN’s in
session.
(CONTINUED)
65A.
111B CONTINUED: 111B
MIRANDA
One copy? What are my twins supposed
to do with that... share?
ANDY
Actually I made two copies. And had
them color-copied, re-set and bound so
they wouldn’t look like manuscripts.
She smiles. MIRANDA nods, but still won’t concede the point.
MIRANDA
And where exactly are those fabulous
copies? I don’t see them anywhere.
ANDY
(brightly)
Anything else I can do for you?
NATE
I went over to Dean & DeLuca -- man,
they charge like five bucks a
strawberry, but I figured, you quit,
we should celebrate.
ANDY
Listen, Nate--
NATE
So you quit, but you’re still doing
the twins’ science project. Big of
you.
ANDY
After I called you, I realized... It
doesn’t make sense to throw away all
these months of hard work. I just had
a moment of weakness. That’s all.
NATE
Either that or your job sucks and your
boss is a wacko.
NATE (CONT’D)
Okay. Whatever. It’s your job.
(CONTINUED)
67.
119 CONTINUED: 119
ANDY
That’s all it is, Nate. Just a job.
NATE
No, no. It’s an important magazine.
That’s what you said, right?
NATE (CONT’D)
Let’s see... How to buy a custom-made
600 dollar bra. That’s important. A
list of the 10 best wrinkle creams
under $500. That’s important.
ANDY
I get the point, Nate.
NATE
The new Botox. The new pea coat. The
new
(wrestling with the word)
Gstaad. What the hell is--
ANDY
Gstaad. It’s a ski resort. In
Switzerland.
NATE
See? I now live with someone who knows
that. Thank you, Miranda Priestly.
ANDY
Nate, it’s not like I run the
magazine. I just work there, remember?
ANDY (CONT’D)
I’m the same person I was. I still
want the same things.
ANDY (CONT’D)
I promise. Same Andy, better clothes.
(CONTINUED)
68.
119 CONTINUED: (2) 119
NATE
That’s the thing -- I liked your old
clothes.
ANDY
(re: her shoes)
What about these? These are pretty
nice.
ANDY (CONT’D)
And this skirt?
(nothing)
Okay. What about this?
She unbuttons her shirt, revealing a bra that costs more than
every item of clothing NATE owns combined. Beat.
NATE
I like that.
NIGEL
...Posen’s doing some very sculptural
suits, so Testino wants to shoot them
at the Noguchi Garden in the Chase
building.
MIRANDA
Perfect. What about the accessories
pages for April?
JOCELYN
One thought was enamel -- bangles,
pendants, earrings--
MIRANDA
We did that two years ago. What else?
JOCELYN
Well, they’re showing a lot of florals
for spring and so--
(CONTINUED)
68A.
119A CONTINUED: 119A
MIRANDA
Florals. For spring. Groundbreaking.
PAUL
But we thought about shooting them in
an industrial space.
PAUL (CONT’D)
We thought the contrast between the
femininity of the florals--
PAUL (CONT’D)
--and the um, the more raw, rough-hewn
nature of the backdrop would create a
tension which--
MIRANDA
No.
PAUL
--which--
MIRANDA
No.
(CONTINUED)
69.
119A CONTINUED: (2) 119A
Before she can get all the way across the room, EMILY
dissolves into hacking coughs. MIRANDA gives her a look, then
turns back to her staff.
MIRANDA (CONT’D)
Anyone have anything I can actually
use?
ANDY
Are you okay?
EMILY
Tonight’s the benefit. I’ve been
looking forward to it for MONTHS. I
refuse to be sick. I’m wearing
Valentino.
(blows her nose)
Everyone’s going to be leaving to get
dressed soon, so after you drop off
Miranda’s Fendi bag at the re-beaders,
you can just go home.
ANDY
Great. Thanks. That’s perfect, because
I need to get to Magnolia Bakery
before they close...
ANDY grabs her purse and, from under her desk, she retrieves
a wrapped present.
ANDY (CONT’D)
...it’s Nate’s birthday and we’re
having a little party for him--
ANDY (CONT’D)
Anyway, have fun tonight.
(CONTINUED)
70.
121 CONTINUED: 121
MIRANDA
I want to make sure before the benefit
that you are both fully prepped on the
guest list.
ANDY
Um... I thought only the first
assistant went to the benefit.
MIRANDA
Only when the first assistant hasn’t
decided to be disgustingly ill. You’ll
come and help Emily.
EMILY
I don’t see why she needs both of us.
ANDY
Don’t look at me. This is the last
thing I want to do.
EMILY
These are all the guests. Miranda
invites everyone. We have to make sure
they all think she knows exactly who
they are. I’ve been studying for
weeks.
ANDY
I need to learn all these people by
tonight?
EMILY
Don’t be silly.
EMILY (CONT’D)
You have to learn these too.
71.
ANDY
Lily, just start without me. I’ll be
there as soon as I can.
LILY
Okay, but hurry.
ANDY
I will. I promise. Believe me, this is
the last thing I want to--
ANDY (CONT’D)
Oh, I love that.
(back to LILY)
I’ll call you the second I’m leaving.
ANDY (CONT’D)
Will that fit me?
NIGEL
Of course. A few extra yards of fabric
and a staple gun and we’re in
business.
He studies her.
NIGEL
Remember, there are two keys to
wearing an evening gown -- one is to
maintain a regal bearing. The second--
(CONTINUED)
71A.
124 CONTINUED: 124
NIGEL (CONT’D)
Make sure the girls face forward.
The makeup artist steps away and NIGEL and ANDY both study
her in the mirror.
NIGEL (CONT’D)
Not bad. How do you feel?
ANDY (V.O.)
Let’s see. My feet are killing me,
everything pinches...
All lit for a gala charity benefit. A red carpet lined with
notables leads up the steps.
ANDY (V.O.)
...my breasts are squeezed into a ball
and this hairpiece is like having a
boulder pinned to my head...
And suddenly the door to the town car opens and ANDY steps
out onto the red carpet.
NIGEL
...this benefit is the social event of
the season. It represents what Runway
is about -- grace, style, elegance...
(CONTINUED)
72.
126 CONTINUED: 126
EMILY
Oh my God, Andy. You look... chic.
ANDY
And you look... so thin.
EMILY
(flattered)
Do I? It’s for Paris. I’m on a new
diet. I don’t eat anything, and then,
when I feel like I’m about to faint, I
eat a cube of cheese.
ANDY
It’s definitely working.
EMILY
I know. I’m just one stomach flu away
from my goal weight.
ANDY
That’s... great.
EMILY
Ready?
(CONTINUED)
73.
127 CONTINUED: 127
EMILY
We need to make sure we’re there the
second she walks in.
ANDY
I was wondering how long you think
we’ll have to stay because I was
hoping to--
EMILY
There she is.
Just then MIRANDA walks in. She’s wearing the awkward dress
from JAMES’S sketches, made over to perfection.
EMILY (CONT’D)
John Folger. New artistic director,
Circle in the Square.
MIRANDA
John. Good to see you.
ANDY
That’s Massimo Cortileono, chairman of-
EMILY
(shushes ANDY)
She knows him.
MIRANDA
Massimo, you made it. I was worried
you’d be too busy with your new
factory in Ortezzano--
MASSIMO
I would never miss a chance to see
you, Miranda, darling.
(CONTINUED)
73A.
127 CONTINUED: (2) 127
MIRANDA
(smiling)
Emily?
EMILY racks her brain. Which goes blank. She starts to panic.
EMILY
(fumbling)
That’s... Wait... I know who that
is... It’s...
ANDY
Ambassador Franklin. And that’s the
woman he left his wife for, Rebecca.
The woman he’s leaving HER for is the
man walking down the stairs in
Valentino.
MIRANDA
Ambassador, Rebecca.
EMILY
Thanks.
(CONTINUED)
74.
127 CONTINUED: (3) 127
ANDY
(trying to remember what
she studied)
That’s... Jacqueline Follet, right?
From French Runway.
EMILY
Yes. Oh my God. Miranda hates her. She
was supposed to arrive after Miranda
left...
MIRANDA
Ah, Bonsoir, Cherie. Ta robe est
rudement chouette.
JACQUELINE
I like your dress too. Very...
Americaine. Sportif.
MIRANDA
Thank you for coming to our little get
together tonight.
JACQUELINE
Of course. I plan my whole year around
it.
MIRANDA
And we’re all so grateful.
JACQUELINE
After all, we’re family, no?
She smiles at IRV, who smiles right back. MIRANDA smiles too,
but looks like she’d rather throw darts at JACQUELINE.
ANDY
Alors, Jacqueline, ditez-moi, avez-
vous rencontré Brad Pitt?
JACQUELINE
Ah, no... Pas encore...
LATER, the party is in full swing. EMILY and ANDY are with
MIRANDA, who is talking to a group of luminaries including
IRV.
(CONTINUED)
74A.
127 CONTINUED: (4) 127
EMILY
You can go. I’ve got it from here.
ANDY
Are you sure?
EMILY
Go. Have fun.
(CONTINUED)
75.
127 CONTINUED: (5) 127
ANDY
(amazed)
Thank you. Thank you so much.
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.
STEPHEN (CONT’D)
Why don’t you get me a drink? He’s
gotta listen to you, right, little
guy?
Everyone freezes.
ANDY
I’m sorry to bother you, but I’ve been
dying to ask you... Is it true that
John Cheever used to ghostwrite the
editor’s page of Manhattan Magazine in
the 50’s?...
And while she chats with him, MIRANDA puts her arm around her
husband and leads him gently away.
MIRANDA
Come on, darling, let’s get something
to eat. I’m starved, aren’t you?
And as she walks away, MIRANDA turns. And MIRANDA mouths the
words “Thank You” to ANDY. ANDY’S eyes go wide in disbelief.
Then she smiles. Yes!
ANDY trots down the steps, starting to take down her hair as
she races to the car.
(CONTINUED)
75A.
128 CONTINUED: 128
CHRISTIAN
Look at you... you’re a vision. Thank
God I saved your job.
(CONTINUED)
76.
128 CONTINUED: (2) 128
ANDY
Hey, I figured out a few things on my
own, too. Turns out I’m not as nice as
you thought.
CHRISTIAN
God I hope not.
CHRISTIAN (CONT’D)
If you didn’t have that stupid
boyfriend, I’d have to whisk you away
right here and now.
ANDY
Do you really say things like that to
people?
CHRISTIAN
Evidently.
ANDY
I have to go...
CHRISTIAN
Are you sure? My editor from Vanity
Fair is in there and I was going to
introduce you to him.
(off her look, surprised)
You sent me your stuff, remember? I
have to be honest, I only read a
couple -- that was quite a big packet -
- but they weren’t half-bad. You’re
pretty talented, Andy. He should meet
you. Come on in. Just one drink.
ANDY
Well, maybe I could--
(quickly)
No no no. I can’t. I just can’t.
CHRISTIAN
Say hello to the boyfriend for me.
(CONTINUED)
77.
129 CONTINUED: 129
ANDY
Can you go any faster?
ANDY
Happy Birthday.
ANDY (CONT’D)
Nate, I’m so sorry. I was trying to
leave, but there was a lot going on
and I didn’t have a choice and--
NATE
Don’t worry about it. I’m going to
bed.
ANDY
Can we at least talk about it this--
NATE
You look really pretty.
ANDY
I don’t understand what’s so difficult
about scheduling a preview. If you
want Miranda to give you any
editorial, we’ll need to see the
clothing at least three weeks before
the show. Yes, please. See what you
can do.
EMILY
Everything okay?
ANDY
Yeah. I’m... fine.
ANDY (CONT’D)
Miranda Priestly’s office. Thanks.
(hangs up)
I gotta go pick up the Polaroids from
the shoot.
JOCELYN
No, no, no. I think Gisele should be
the lizard and Vivian the donkey.
NIGEL
The lizard’s better with the Dolce.
(beat)
Sometimes I can’t believe I talk about
this crap all day.
(CONTINUED)
79.
130D CONTINUED: 130D
CLACKER #2
God, we should have a pig mask for
Rhona.
CLACKER #1
I know. She’s huge.
NIGEL
Get these to Miranda right away. Tell
her I switched in the Dior for the
Rochas.
ANDY
(flat)
Great. No problem.
NIGEL
Hey. Adjust the attitude. Don’t make
me feed you to one of the models.
ANDY
Sorry. Busy day. And my personal life
is going down the drain. That’s all.
NIGEL
Join the club. You start to do well at
work, that’s what happens.
NIGEL (CONT’D)
Let me know when your whole life goes
up in smoke. That means it’s time for
a promotion.
ANDY steps in, carrying the dry cleaning and The Book, moving
quickly. Suddenly she hears a voice, emerging from upstairs.
MIRANDA
Andrea. Come up here.
(CONTINUED)
80.
135 CONTINUED: 135
ANDY walks in, curious. And scared. ANDY steps into the
apartment,
MIRANDA
Paris is the most important week of my
year. I need the best team possible
with me.
MIRANDA (CONT’D)
That no longer includes Emily.
ANDY realizes...
ANDY
Wait. You want ME to -- oh, no. No,
no. Emily would die. Her whole life is
about Paris.
ANDY (CONT’D)
She hasn’t eaten in weeks. I can’t do
that, Miranda. I can’t.
MIRANDA
If you don’t go, I’ll assume you’re
not serious about your future at
Runway or any other publication.
MIRANDA (CONT’D)
The decision is yours.
ANDY
But--
MIRANDA
That’s all.
ANDY walks out of the building. ROY opens the door to the
town car, but she waves him away.
81.
And MIRANDA takes her coat off. ANDY holds out her arms to
take the coat from her.
And then MIRANDA strides into her office. ANDY sits down,
trying to grasp the magnitude of what just happened. And just
then MIRANDA pokes her head back in.
MIRANDA
Don’t forget to tell Emily.
ANDY (O.S.)
Emily--
(CONTINUED)
82.
142 CONTINUED: 142
EMILY
Sorry I’m late. Miranda wanted some
scarves from Hermes and she told me
yesterday but I forgot and so--
ANDY (O.S.)
Emily, I have to talk to you.
EMILY
I freaked out of course, but then I
just called Martine at home and she
opened the store early, so I got them.
ANDY
Okay. Emily. When you get in, I want
to talk to you about something--
EMILY
I hope it’s not another Miranda
problem--
ANDY
Not exactly.
EMILY
Good. Because I’ve got so much to deal
with before I go, I swear to God I
can’t even--
And that’s when EMILY steps into the street without looking.
The second she steps off the sidewalk--
We see her purse, her cell phone, her shopping bags, some of
the orange Hermes boxes, and some of the scarves as they fly
through the air.
(CONTINUED)
83.
144 CONTINUED: 144
EMILY
I don’t care if she was going to fire
you or beat you with a red hot poker,
you should have said no.
ANDY
I didn’t have a choice. You know how
she is.
EMILY
Oh, please. That’s a pathetic excuse.
EMILY (CONT’D)
What gets me about this whole thing
is, you’re the one who pretends you
don’t care about this stuff. You don’t
care about fashion, you just want to
be a journalist, blah, blah, blah.
What a load of bollocks.
ANDY
Look, I know you’re mad. And I don’t
blame you.
EMILY
Face it, Andy. You sold your soul the
day you put on your first pair of
Jimmy Choos.
EMILY (CONT’D)
(with her mouth full)
And you know what really kills me? The
clothes you’re about to get. You don’t
deserve them. You eat carbs, for
Christ’s sake. It’s so unfair.
(takes another bite)
Just go.
(CONTINUED)
84.
144 CONTINUED: (2) 144
ANDY
Emily--
EMILY
I said, go!
LILY has curated a show at the gallery where she works. LILY
rushes around. NATE is not there yet. ANDY stands with DOUG.
DOUG
You’re going to Paris for the couture
shows? That’s the coolest fashion
event of the year -- who are you going
to see Galliano? Lagerfeld? Nicolas
Ghesquiere?
ANDY
Okay, now you’re scaring me.
ANDY (CONT’D)
Lily, this show is amazing. I am so
proud of you.
LILY
I wasn’t sure you would be able to
make it.
ANDY
What are you talking about? I wouldn’t
miss this.
LILY
I’m just glad you’re here. Start with
the murals in the other room. They’re
amazing...
(CONTINUED)
84A.
145A CONTINUED: 145A
CHRISTIAN
Hey, Miranda Girl.
(CONTINUED)
85.
145A CONTINUED: (2) 145A
CHRISTIAN (CONT’D)
I was just thinking about you.
ANDY
Come on.
CHRISTIAN
It’s true. I’m profiling Gaultier for
Interview and I was making plans for
Paris and found myself wondering if
you would be there.
ANDY
Actually...
CHRISTIAN
That’s great. I’m staying at a
fantastic little hotel in the Seventh
across the street from a falafel
restaurant that will change your life.
ANDY
Sorry. I’ll be too busy working.
You’ll have to find someone else’s
life to change.
CHRISTIAN
But that’s just it. I’m starting to
wonder if I can.
And with that, he leans in, plants a soft kiss on her cheek.
When she opens her eyes, CHRISTIAN is gone. And it’s not for
a moment that she notices...
(CONTINUED)
86.
145B CONTINUED: 145B
ANDY
He’s just a guy I know from work.
LILY
Yeah. That looked like work.
ANDY
You’re making a big a deal out of--
LILY
The Andy I know is madly in love with
Nate, is always five minutes early and
thinks Club Monaco is couture. For the
last 16 years I’ve known everything
about that Andy, but this person?
LILY (CONT’D)
Have fun in Paris.
She turns and walks away. ANDY turns. NATE is standing there.
NATE
You’re going to Paris?
ANDY
It just happened--
NATE
I thought Paris was some big deal for
Emily and--
ANDY
Great. Now you’re going to give me a
hard time, too?
NATE
What the hell is wrong with you?
(CONTINUED)
87.
146 CONTINUED: 146
ANDY
Miranda asked me and I couldn’t say
no, okay? I didn’t have a choice.
NATE
I know, I know. That’s your answer for
everything lately. I didn’t have a
choice. Like this job was forced on
you. Like you don’t make these
decisions yourself...
ANDY
Okay. I get it, you’re mad because I
work late all the time, because I
missed your birthday party--
NATE
Oh, come on. What am I, four?
ANDY
You hate Runway. And Miranda. You
think fashion is stupid. You’ve made
that clear.
NATE
Andy, I make port wine reductions all
day. I’m not exactly in the Peace
Corps. I wouldn’t care if you were out
all night pole dancing if you did it
with some integrity.
ANDY
So now I have no integrity. Great.
NATE
You used to say this was just a job.
You made fun of the Runway girls. And
now you’ve become one of them.
ANDY
That’s absurd.
NATE
Look at you. Now that I know how much
you’re willing to change to be
successful, it makes me wonder if we
ever had anything in common.
ANDY
You don’t mean that.
(CONTINUED)
88.
146 CONTINUED: (2) 146
NATE
I do. I really do.
ANDY
Then maybe this trip is coming at a
good time. Maybe we should take a
break.
She stands there, waiting for him to protest, throw his arms
around her.
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.
NATE (CONT’D)
I hope you two are very happy
together.
ANDY
Hello, Miranda...
DISSOLVE TO:
ANDY
Wait. This is not right. Miranda is
staying in the suite.
BELLMAN
That’s correct, Mademoiselle. Miranda
Priestly’s suite is down the hall.
ANDY
This is my room?
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.
CHRISTIAN
You know, I’ve been thinking, and you
still owe me for Harry Potter.
(CONTINUED)
90.
157 CONTINUED: 157
ANDY
Oh, do I?
CHRISTIAN
Of course you do. You working tonight?
ANDY
Actually, Miranda has a dinner.
CHRISTIAN
So you’re free. Perfect. Oh, but
there’s a problem, huh? Le Boyfriend.
CHRISTIAN (CONT’D)
Wait. Don’t tell me, The boyfriend is
non plus? Je suis trés trés desolé.
ANDY
Oh, you’re so full of it. You are not
desolé at all.
CHRISTIAN
Yeah, not even a little. What time
should I pick you up?
MIRANDA
(distracted)
There you are. We need to go over the
seating chart for the luncheon.
ANDY starts to take the chart out of her bag, but she can’t
help but notice MIRANDA is... staring into space.
ANDY
Sure. No problem. I have it right
here, um...
(CONTINUED)
91.
159 CONTINUED: 159
MIRANDA
By all means, move at a glacial pace.
You know how that thrills me.
ANDY puts down the seating chart. MIRANDA studies it. And
there’s an uncharacteristic lag in her decision making.
MIRANDA (CONT’D)
Okay, so, first of all, let’s put Jay-
Z at my table.
ANDY
But your table is full.
MIRANDA
Stephen won’t be coming.
She takes his the tab off the seating chart and removes it.
ANDY looks at her, not understanding.
ANDY
So Stephen is not... so you don’t need
me to fetch Stephen from the airport
tomorrow?
MIRANDA
Well, if you speak to him and he
decides to rethink the divorce, then
“fetch” him. Fetch away.
MIRANDA (CONT’D)
When we get back to New York, we’ll
need to think of a way to keep it out
of the press.
ANDY
Of course.
MIRANDA
Another divorce in the papers... and
we all know what they’ll say about me -
- Dragon Lady, career-obsessed, drove
away another “Mr. Priestly”.
(CONTINUED)
92.
159 CONTINUED: (2) 159
MIRANDA (CONT’D)
He knew who I was, you know. They all
did. And at first they’re always proud
to be with a powerful, accomplished
woman. That’s what they say. But
then...
MIRANDA (CONT’D)
I don’t care what anyone says about
me, of course. But it’s so unfair to
the girls... another disappointment,
another stepfather, gone...
MIRANDA (CONT’D)
I mean, the point is--
MIRANDA (CONT’D)
We really need to figure out where to
put Donatella because she’s barely
speaking to anyone.
ANDY
Miranda, I’m so sorry. If you want me
to cancel your evening, I can.
MIRANDA
Don’t be ridiculous... why would you
do that?
ANDY
Miranda, is there... is there anything
else I can do?
MIRANDA
Your job.
MIRANDA closes the door. And now that she’s alone, for one
second her veneer cracks. She takes a breath. Moving on.
MIRANDA
(to the DRIVER)
Go.
NIGEL
Hi. Listen, I need Miranda’s itinerary
because--
NIGEL (CONT’D)
Who put that together for you?
ANDY
What do you mean?
NIGEL
That outfit.
ANDY
Oh, I just threw it on.
NIGEL
(takes it in)
Incredible. Well, I guess my work here
really is done. Come on. Let’s have
champagne. We’re celebrating.
ANDY
What are we toasting?
(CONTINUED)
94.
162A CONTINUED: 162A
NIGEL
To getting the dream job, the one a
million girls wanted.
ANDY
Nigel. I got my job months ago.
NIGEL
I’m not talking about you.
NIGEL (CONT’D)
James Holt. Massimo is investing in
James’ company, taking it global with
the rest of CFG -- shoes, bags,
fragrances, the works. So James needs
a partner. And that would be me.
(off her look)
Miranda knows. She put me up for it.
ANDY
(stunned)
You’re leaving? Nigel, I can’t imagine
Runway without you.
NIGEL
Can you believe it? For the first time
in eighteen years, I’m going to call
the shots in my own life. One day I
might be able to come to Paris and
actually... see Paris.
ANDY
God. I’m so happy for you, Nigel. You
deserve it.
NIGEL
Bet your ass.
ANDY
...I’ve never seen anyone as dedicated
as Miranda.
(CONTINUED)
95.
163 CONTINUED: 163
CHRISTIAN
That’s fantastic. Can we stop talking
about her now?
ANDY
I’m just saying, yes, there are things
she does I don’t agree with, but...
CHRISTIAN
Oh, come on, Andy. You hate her. Just
admit it. She’s a notorious sadist,
and not in the good way.
ANDY
Okay, so she’s tough, but if Miranda
were a man, no one would notice
anything but how great she is at her
job.
CHRISTIAN
I can’t believe this. You’re defending
her. The wide-eyed girl peddling her
earnest newspaper stories -- you’re
crossing over to the dark side.
ANDY
I resent that.
CHRISTIAN
You shouldn’t. It’s sexy.
ANDY
Sexy? Really?
CHRISTIAN
Really.
They walk home together through the Place Des Vosges, leaning
against each other. ANDY is tipsy.
ANDY
I have no idea where we’re going. You
could be leading me anywhere...
(CONTINUED)
95A.
164 CONTINUED: 164
CHRISTIAN
Don’t worry. I know this city like the
back of my hand. It’s my favorite
place on the planet. You know what
Gertrude Stein said -- “America is my
country and Paris is my hometown.”
ANDY
You are unbelievable. Do you write
that stuff down and file it away to
use on girls?
CHRISTIAN
I work free-lance. Leaves me with some
time on my hands.
ANDY
Well, I never understood why everyone
was so crazy about Paris, but now...
ANDY (CONT’D)
It’s. So. Beautiful.
ANDY (CONT’D)
I can’t do this.
(Another kiss)
(MORE)
(CONTINUED)
96.
164 CONTINUED: (2) 164
ANDY (CONT’D)
Nate and I only split up a few days
ago.
(Another kiss)
I’ve had too much wine and my
judgement is impaired.
(Another kiss)
I barely know you and I’m in a strange
city.
(He kisses her again)
I’m out of excuses.
CHRISTIAN
Thank God.
ANDY wakes up. Her hair and make-up from the night before are
askew. She realizes what she did.
ANDY
What the hell is this?
CHRISTIAN, cool as can be, steps out and grabs a towel, which
he wraps around himself.
(CONTINUED)
97.
171 CONTINUED: 171
CHRISTIAN
What does it look like? It’s a mock-
up.
ANDY
Of?
CHRISTIAN
Of what American Runway will look like
when Jacqueline is the new editor-in-
chief.
ANDY
They’re replacing Miranda?
CHRISTIAN
Yes. And she’s bringing me in to run
all the editorial content.
(off ANDY’S stunned look)
Are you really surprised? Jacqueline
is a lot younger than Miranda. Has a
fresher take on things. Not to mention
that American Runway is one of the
most expensive books in the business.
Jacqueline does the same thing with a
lot less money. Irv is a businessman,
you know.
ANDY
Miranda will be devastated. Runway is
her whole life. He can’t do that to
her.
CHRISTIAN
It’s done. Irv’s going to tell Miranda
after the party for James.
ANDY
And she has no idea...?
CHRISTIAN
She’s a big girl. She’ll be fine.
He reaches out to grab her arm. But she looks at him with
utter contempt.
(CONTINUED)
98.
171A CONTINUED: 171A
ANDY
I have to go.
CHRISTIAN
It’s done, Andy.
ANDY paces.
ANDY races down the street. She dials her cell phone. MIRANDA
picks up.
ANDY
Oh, thank God. Where are you?
MIRANDA
Excuse me?
ANDY
I need to talk to you. Right away.
It’s about Jacqueline Follet, she--
Click.
ANDY (CONT’D)
Shit!
IRV opens the door. We see MIRANDA behind him. When she sees
ANDY, she walks over. Turns to IRV.
MIRANDA
Excuse us a moment.
MIRANDA (CONT’D)
Have you lost your mind?
(CONTINUED)
99.
176 CONTINUED: 176
ANDY
I have to talk to you.
MIRANDA
Do not disturb me again.
MIRANDA walks into the room, closes the door in ANDY’S face.
ANDY
Miranda, wait. I have to talk to you.
You can fire me if you want to after
that, but...
(gathers all her nerve)
Irv is going to make Jacqueline Follet
editor-in-chief of Runway. Christian
Thompson told me, he’s going to work
for her. Irv’s going to tell you
today. I thought if I told you now,
you could fix it.
MIRANDA
Are those freesias?
ANDY
What? No. I specifically told them--
MIRANDA
If I see freesia anywhere, I will be
very disappointed.
(CONTINUED)
100.
180 CONTINUED: 180
DISSOLVE TO:
NIGEL
For seventy-two years, Runway has been
more than a magazine, it’s been a
beacon of elegance and grace. Miranda
Priestly is the finest possible
guardian of that beacon, setting a
standard that inspires people across
the globe. Ladies and gentlemen, I
give you Miranda Priestly.
MIRANDA
Thank you everyone. Before I talk to
you about James and everything he’s
accomplished, I have news.
MIRANDA (CONT’D)
Tonight is not just an important night
for me, for Runway, and for James,
it’s also important for someone else
in this room...
MIRANDA (CONT’D)
As of next month, James will be
partnering with CFG in an expansion of
his line.
Light applause.
MIRANDA (CONT’D)
James and Runway have one important
thing in common -- a commitment to
excellence.
(CONTINUED)
101.
181 CONTINUED: 181
MIRANDA (CONT’D)
And so it comes as no surprise that
James has selected someone from the
Runway family as the new copresident
of JH International...
MIRANDA (CONT’D)
My esteemed colleague, Jacqueline
Follet.
ANDY’S mouth falls open. She looks over at NIGEL again. His
face betrays nothing. He applauds along with everyone else.
MIRANDA (CONT’D)
Let’s wish Jacqueline the best as she
pursues this wonderful opportunity.
MIRANDA (CONT’D)
And now to the business at hand. A
celebration of one of my favorite
designers...
ANDY
You said it was your dream job.
NIGEL
I’ve given her everything I have,
Andy. She knows that.
ANDY
But you don’t need her. You could just
leave anyway and-
(CONTINUED)
101A.
188 CONTINUED: 188
NIGEL
(quickly cutting her off)
When the time is right, she’ll pay me
back.
ANDY
You sure about that?
(CONTINUED)
102.
188 CONTINUED: (2) 188
NIGEL
No. But I hope for the best. I have
to.
MIRANDA
I’m ready to go.
MIRANDA and ANDY ride in the limo on their way back to Paris.
MIRANDA is as relaxed as we’ve seen her.
MIRANDA
You thought I didn’t know.
ANDY nods.
MIRANDA (CONT’D)
I’ve known what was happening for
quite some time. It took a little
while to find a suitable alternative
for Jacqueline, one she would accept.
Turned out, that James Holt job is so
absurdly overpaid--
MIRANDA (V.O.)
--she jumped at it.
MIRANDA
Then I let Irv know Jacqueline was
unavailable.
(CONTINUED)
189aA CONTINUED: 189aA
MIRANDA (V.O.)
Truth is, there’s no one who can do
what I do, her included.
MIRANDA
Any of his other choices would find
the job impossible and the magazine
would surely suffer. Especially
because of the list--
(CONTINUED)
102A.
189aC CONTINUED: 189aC
MIRANDA (V.O.)
--designers, photographers, editors,
writers, models, all of whom were
found and nurtured by me...
MIRANDA
...all of whom have promised to follow
me whenever and if ever I leave
Runway. To any publication I choose.
Of course, as soon as Irv understood,
he reconsidered.
(CONTINUED)
103.
189aF CONTINUED: 189aF
MIRANDA
I must say, I was impressed with you,
how intently you tried to warn me.
MIRANDA (CONT’D)
I never thought I would say this,
Andrea, but I see some of myself in
you. Your dedication, your focus.
MIRANDA (CONT’D)
People think success happens to you.
It doesn’t. You choose it. Every day,
I choose excellence. Who else does
what I do, at my level? Nobody. They
don’t even understand what it takes,
the days, measured in milliseconds...
MIRANDA (CONT’D)
But now you know --and I know -- that
you have it in you. That you can see
beyond what other people want and
choose for yourself.
ANDY
But I don’t think I am like that.
ANDY (CONT’D)
I couldn’t do what you did to Nigel,
Miranda. There’s no way I could do
something like that.
Pause. ANDY can barely believe what she said. But instead os
exploding... MIRANDA smiles.
MIRANDA
Of course you can. You already did. To
Emily.
ANDY reels.
(CONTINUED)
104.
189aF CONTINUED: (2) 189aF
ANDY
That’s not what I -- that was
different. I didn’t have a choice.
MIRANDA
No. You did choose. You chose to get
ahead. You want this life, those
choices are necessary.
ANDY
But what if it’s not what I want? I
mean, what if I don’t want to live the
way you do?
MIRANDA looks at her and smiles, and this time, for the first
time, her smile is almost maternal.
MIRANDA
Don’t be silly, Andrea. This is what
everyone wants. Everyone wants to be
us.
MIRANDA moves down the red carpet. We follow her. It’s not
until MIRANDA is about to open the door that she realizes...
She has never looked more beautiful. She is serene. And she
is free. The wind blows through her hair. She smiles.
Her phone rings. She looks down. Sees the name MIRANDA.
ANDY walks off the plane. Sees LILY standing there, among the
CHAUFFEURS, holding a sign that says SACHS. ANDY cracks up,
walks over to her.
LILY
Sorry. Town car’s in the shop.
(CONTINUED)
105.
192 CONTINUED: 192
ANDY
You’re such a pain.
LILY
And you’d be lost without me.
ANDY
True.
LILY
Does this mean I have to give my purse
back?
ANDY waits nervously. NATE walks in, slides into the booth
across from her.
NATE
I have to be at work in ten minutes.
What’s up?
ANDY
I just wanted to say...
ANDY (CONT’D)
Nate, you were right. About
everything. I turned my back on my
friends, my family, on everything I
believed in. And for what?
NATE
Shoes. And jackets and belts and--
ANDY
Nate, I’m just... I’m so sorry.
NATE
I flew up to Boston while you were
gone. Interviewed at the Oak Room.
ANDY
And?
(CONTINUED)
106.
193 CONTINUED: 193
NATE
You’re looking at their new sous-chef.
I’m moving up there in a few weeks.
ANDY
That’s great, I... congratulations.
ANDY (CONT’D)
Don’t know what I’m going to do
without those late night grilled
cheeses.
NATE
They have bread in Boston. Might even
have Jarlsberg. We might be able to
figure something out.
ANDY
You think?
NATE
You never know.
NATE (CONT’D)
So, how about you? What are you going
to do now?
ANDY
Not sure.
NATE
I’m not worried about you. Anything
you try, you’re gonna kick ass.
ANDY
You think so?
NATE
No. I know it.
ANDY
Thanks. I actually have a job
interview today.
NATE
And that’s what you’re wearing?
106A.
EDITOR
You know our pay is crap.
(CONTINUED)
107.
195 CONTINUED: 195
ANDY
That’s fine.
EDITOR
Your clips were excellent. That thing
on the janitor’s union... that’s
exactly what we do here.
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.
EDITOR (CONT’D)
I called over there for a reference,
left word with some snooty girl, next
thing you know I got a fax from
Miranda Priestly herself--
ANDY blanches.
EDITOR (CONT’D)
...saying that of all the assistants
she had, you were by far her biggest
disappointment.
EDITOR (CONT’D)
And that if I don’t hire you I’m an
idiot.
On ANDY, stunned.
EDITOR (CONT’D)
You must have done something right.
EMILY
My God, you call this a letter? Can
you spell any word in the English
language?
EMILY (CONT'D)
Miranda Priestly's office.
ANDY
Emily, it's Andy. Don't hang up. I
have a favor to ask you.
EMILY
You're joking. YOU have a favor to
ask of ME?
ANDY
Thing is, I have all these clothes
from Paris and I don't have
anyplace to wear them, so I was
wondering... is there any way you
could take them off my hands?
Beat. EMILY realizes what ANDY is offering, but she won't let
that show...
(CONTINUED)
108A.
198B CONTINUED: 198B
EMILY
Well, I don't know. It is a huge
imposition, but I suppose I could
help you out... I'll have Roy pick
them up this afternoon.
ANDY
Thanks, Emily. I appreciate it.
EMILY
Why can't you be more like Andy?
ANDY hangs up her phone and smiles. And suddenly she sees
MIRANDA walk out of the building, on the phone.
MIRANDA
...I don’t understand why it’s so
challenging to get a car when I ask
for one.
EMILY (O.S.)
It should be there any second.
And at that moment the car edges into view. MIRANDA hangs up
and strides towards it.
A beat.
But MIRANDA does not react. She gets into the car.
ANDY shakes her head. That’s MIRANDA. She smiles, then turns
and starts to walk down the street.
108B.
MIRANDA gets in, sits back in her seat. Through her window
she can see ANDY, a bounce in her step, walking away...
And MIRANDA, alone, where no one can see her, finally breaks
into a real smile.
(CONTINUED)
109.
200 CONTINUED: 200
ANDY walks away, smiles, shakes her head, the whole thing
almost like a dream. And as she continues moving confidently
in the opposite direction from MIRANDA we...
FADE OUT