All language subtitles for The.Devil.Wears.Prada.2006.1080p.MAX.WEB-DL.DDP.5.1.H.265-PiRaTeS

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These are the user uploaded subtitles that are being translated: Eߣ�B��B��B�B�B��matroskaB��B��S�g~�M�t�M��S��I�fS��M��S��T�kS���M��S��S�kS���M��S��T�gS��}{�O�I�f@�*ױ�B@M��libebml v1.4.5 + libmatroska v1.7.1WA�mkvmerge v82.0 ('I'm The President') 64-bitD��AXSDa� C(���s���H�Qk��� ��~���mT�k���ׁsň��o� �첃�������S_TEXT/UTF8"���en�D)C�u��w������(SQUEAKS)��+C�u�炭栻���♪ Her face is a map Of the world��{������♪ Is a map of the world�� �C�u���������♪ You can see She's a beautiful girl��砫���,♪ She's a beautiful girl���C�u@���N�Сʁ♪ And everything around her Is a silver pool of light��u�ˡŁ�♪ People who surround her Feel the benefit of it���C�u���'�����♪ It makes you calm�� z�á�� �♪ She'll hold you captivated In her palm��jC�u@��������♪ Suddenly I see�� ������♪ Suddenly I see�� ������ �♪ This is what I wanna be��V������♪ Suddenly I see�� �������♪ Suddenly I see�� �C�u��2������♪ Why the hell It means so much to me�� �C�u��^a�����♪ And I feel like Walking the world��ܠ���� !♪ Like walking the world�� C�u@��q�ġ��♪ And you can hear She's a beautiful girl�� 栫��� +♪ She's a beautiful girl��ޠ�ہk♪ She fills up every corner Like she's born In black and white��tC�u����ѡˁ♪ Makes you feel warmer when you're trying to remember��w������♪ What you heard�� �C�u�����š��♪ She likes to leave you Hanging on a word��J������Good luck.��IC�u@��������♪ Suddenly I see��������♪ Suddenly I see���������♪ This is what I wanna be�������A♪ Suddenly I see�� '�����A(CHILDREN GIGGLING)�� 'C�u@��� ����♪ Why the hell It means so much to me��U������♪ Suddenly I see��������♪ This is what I want to be��C�u@���������♪ Suddenly I see�� ������♪ Suddenly I see�� ������ A♪ Why the hell It means so much to me�� �C�u@��񠯡��♪ And she's taller than most���������♪ And she's looking at me��T�ӡ́k♪ I can see her eyes lookin' From the page in a magazine�� �C�u@��5q�����♪ Suddenly I see���ȡL♪ She's got the power To be the power to give��򠰡�� �♪ The power to see yeah, yeah��������a♪ Suddenly I see��3C�u@��MJ�ȡ♪ She's got the power to be The power to give��������B♪ The power to see Yeah, yeah, yeah��������B(HORN HONKS)��������♪ Suddenly I see��������♪ She's got the power to be���C�u@��c0�ˡŁ♪ The power to give The power to see, yeah, yeah�� 񠣡�� 6♪ Suddenly I see����ȡ*♪ She's got the power to be The power to give��C�u@��y������♪ The power to see, yeah, yeah��۠���� ♪ Suddenly I see��p����� �♪ Suddenly I see��w������♪ This is what I want to be���C�u@���i�����♪ Suddenly I see�� ������♪ Suddenly I see�� ������ �♪ Why the hell It means so much to me��UC�u@���ᠣ���♪ Suddenly I see��������♪ This is what I want to be���������♪ Suddenly I see�� h������♪ Suddenly I see�� hC�u@��č�����♪ Why the hell It means so much to me�� _����� �♪ Suddenly I see�������� �♪ Oh, oh, yeah, yeah���C�u@���/�����♪ Suddenly I see�� �����♪ Suddenly I see�� ����� c♪ Why the hell It means so much to me�� �C�u@���y�����♪ Suddenly I see��������♪ Yeah, yeah��������@♪ Suddenly I see�� ޠ����@♪ Suddenly I see�� �C�u����á��♪ Why the hell It means so much to me♪��u������(BELL DINGS)��C�u��$�����(BREATHES DEEPLY)��pC�u��Ji�����Hi. Uh, I have an appointment with Emily Charlton?���C�u��`������Andrea Sachs?��J������Yes.��Ϡǡ�� �Great. Human Resources certainly has an odd sense of humor.�� dC�u��w�����(CHUCKLES) Follow me.�������� Okay, so I was Miranda's second assistant,�� �C�u@����ԡ΁but her first assistant recently got promoted, and so now I'm the first.�� l����� �Oh, and you're replacing yourself.��Ԡ�����Well, I am trying.��TC�u@�����š��Miranda sacked the last two girls after only a few weeks.��5�̡ƁzWe need to find someone who can survive here. Do you understand?�� ������AYeah. Of course. Who's Miranda?�� �C�u@��ß�á��Oh, my God. I will pretend you did not just ask me that.�� ������ �She's the editor in chief of Runway,���C�u@���z�����not to mention a legend.��"�ԡ΁You work a year for her, and you can get a job at any magazine you want.�� �����`A million girls would kill for this job.��mC�u���ʡāIt sounds like a great opportunity. I'd love to be considered.�� ������ �(EMILY GIGGLING)��!C�u�� �����Andrea, Runway is a fashion magazine,��7������so an interest in fashion is crucial.�� �C�u��"������What makes you think I'm not interested in fashion?�� Ơ���� (CELL PHONE RINGING)���C�u��9�����Oh, my God.��,������No! No! No!��7�����)What's wrong?�� C�u��ar�����She's on her way. Tell everyone!�� O����� �She's not supposed to be here until 9:00.�� �C�u@��v�����Her driver just text messaged,��V������and her facialist ruptured a disk.�������� �God, these people!��������x(WHISTLES, WHISPERS) Who's that?��JC�u��������That I can't even talk about.��M����� *All right, everyone! Gird your loins!�� DC�u���ɠ����(EXCITED CHATTERING)��ࠪ���%Did someone eat an onion bagel?��YC�u���ɠ����(EXHALES, SNIFFS)���C�u���J�����(BELL DINGS)��7C�u���᠙���Sorry, Miranda.��7C�u���+�����(BELL DINGS)���C�u@���<�����Move it!���������Ooh!��砳��� �I don't understand why it's so difficult��4�����(to confirm an appointment.��pC�u@���7�����I know. I'm so sorry, Miranda.�������yI actually did confirm last night.�������� LDetails of your incompetence do not interest me.�� >C�u@�������Tell Simone I'm not going to approve that girl���������that she sent me for the Brazilian layout.��N������I asked for clean, athletic, smiling.��pC�u@��Z�����She sent me dirty, tired and paunchy.���������And RSVP yes to the Michael Kors party.���������I want the driver to drop me off at 9:30���C�u@��3L�����and pick me up at 9:45 sharp.���������(WHISPERS) 9:45 sharp.��l������Call Natalie at Glorious Foods,��l������tell her no for the 40th time.��zC�u@��H͠����No, I don't want dacquoise.�������XI want tortes filled with warm rhubarb compote.�� >������Then call my ex-husband and remind him��"C�u@��^-�����the parent-teacher conference is at Dalton tonight.��栾���+Then call my husband, ask him to meet me for dinner�� �������at that place I went to with Massimo.���C�u@��w3�����Also, tell Richard I saw the pictures that he sent�� J����� �for that feature on the female paratroopers,��������and they're all so deeply unattractive.��-C�u@���������Is it impossible to find a lovely,��w������slender female paratrooper?��>�����?No.��������?Am I reaching for the stars here?���C�u@���������Not really. Also, I need to see all the things�� ������ �that Nigel has pulled for Gwyneth's second cover try.�� �C�u@����ơ��I wonder if she's lost any of that weight yet. Who's that?�� ������ LNobody. Um, uh--��Р����aWell, Human Resources sent her up���C�u@���M�����about the new assistant job,���������and I was preinterviewing her for you.��������But she's hopeless and totally wrong for it.�� C�u@��󬠶���Clearly I'm going to have to do that myself��Ơ���� because the last two you sent me��l����� �were completely inadequate. So send her in.�� �C�u��������That's all.���������Right.��-C�u��-�����She wants to see you.��w�����Oh! She does?��w������Move!���C�u��H꠮���This is foul. Don't let her see it.��Ơ���� That's--��X����� Go!��X�����c(SIGHS)���C�u@��v�����Who are you?��v������Uh, my name is Andy Sachs.���������I recently graduated from Northwestern University.�� �C�u@���y�����And what are you doing here?��Š���� (CLEARS THROAT)��,����� �Well...��>�����(I think I could do a good job as your assistant.�� aC�u���G�����And, um...��頶����Yeah, I came to New York to be a journalist���C�u@���7�����and sent letters out everywhere��核���+and then finally got a call from Elias-Clarke��������land met with Sherry up at Human Resources.�� 8C�u���'�����Basically, it's this or Auto Universe.���������So you don't read Runway?���������Uh, no.��'C�u��������MIRANDA: And before today, you had never heard of me.�� ������cNo.���C�u��>�����And you have no style or sense of fashion.�� ������Well, um... (CHUCKLES)��C�u��.q�����I think that depends on what you're--��V������No, no. That wasn't a question.�� C�u@��I������Um...��`�¡���I was editor in chief of the Daily Northwestern.�� ��ʡāvI also, um, won a national competition for college journalists��{C�u��mĠ����with my series on the Janitors' Union,�������Gwhich exposed the exploitation of-- That's all.��8C�u���𠒡��(SCOFFS)�������� �Yeah. You know, okay.���C�u���������You're right. I don't fit in here.�������MI am not skinny or glamorous,�� �C�u@���+�����and I don't know that much about fashion.�� )����� nBut... I'm smart.��������KI learn fast and I will work very hard.��C�u@���̠����I got the exclusive on the Cavalli for Gwyneth,�� ˠ���� but the problem is,��P������with that huge feathered headdress that she's wearing,���C�u@���n�����she looks like she's working the main stage��נ����at the Golden Nugget.��䠢��� cThank you for your time.�� �C�u@�� U�����Who is that sad, little person?�� ������ �Are we doing a before-and-after piece��������)I don't know about?��NC�u�� ������(INDISTINCT CHATTER)��y������Brown and Law, please? Thank you.���C�u�� F������Andrea.��)�����nHmm?���C�u@�� ]Y�����Wait. You got a job at a fashion magazine?�� 栙��� +ANDREA: Mm-hmm.��.����� +What was it, a phone interview?��.������LILY: Fuck. Wow.�� ������Ow! Don't be a jerk.�� C�u@�� }G�¡��Uh, Miranda Priestly is famous for being unpredictable.�� �ȡ bOkay, Doug. How is it that you know who she is and I didn't?�� �C�u@�� �������I... I'm actually a girl.�� k�����Oh!�� k����� �That would explain so much.���������DOUG: Look, seriously.�� C�u@�� �Š����Miranda Priestly is a huge deal.��5�����zI bet a million girls would kill for that job.��z�����VYeah, great.��Ѡ����lThe thing is I'm not one of them.��JC�u@�� �������LILY: Well, look, you gotta start somewhere, right?��3�����xI mean, look at this dump Nate works in.��������KI mean, come on. Paper napkins? Hello.�� �C�u@�� ��ˡŁYeah. And Lily, she works at that gallery doing, uh, you know--��ڠ����Oh, I'm sorry. What exactly is it that you do anyway?�� cC�u@�� ������(CLEARS THROAT) Well, lucky for me,��5�����zI already have my dream job.�� ������KALL: You're a corporate research analyst!�� (C�u@�� ������Oh, you're right. My job sucks.��������No!�������� AIt sucks. I don't-- It's boring.�� 栨��� ALILY: It's all right. Breathe.�� 栛���lDOUG: I'm trying.��V�����lLILY: Here. Take a drink.��VC�u@�� 3 ����DOUG: I will have a drink.��w�����Ah, yes.��w������ANDREA: I'd like to propose a toast. LILY: Okay.��K����� LTo jobs that pay the rent.��ʠ����[To jobs that pay the rent.���C�u@�� K8�����LILY: Jobs that pay the rent.��Ƞ���� nOh, baby.����š��kYou should see the way these girls at Runway dress.���C�u@�� dà����I don't have a thing to wear to work.���ɡÁLCome on. You're gonna be answering phones and getting coffee.�� "������You need a ball gown for that?���C�u�� ~������I think I might.�������WWell, I happen to think you look great always.�� �C�u�� �a�����Aww! I think you're full of it.�� ����� �(BOTH GIGGLING)��C�u@�� ����Hey. Come on.��5�����Yeah.��5�����zLet's go home. I can think of something�������� �we can do that doesn't require any clothing.�� vC�u�� �c�����ANDREA: Really?��Z�����Mmm.��Z������(UP-TEMPO MUSIC PLAYING)�� )�����+(PHONE RINGING)��IC�u@�� ������♪ I haven't got Much time to waste�� Š���� ♪ It's time To make my way...♪��������Hello?��7C�u@�� �}�ҡ́Andrea, Miranda decided to kill the autumn jacket story for September,�� ����� yand she is pulling up the Sedona shoot from October.���C�u@�� 6�����You need to come into the office right this second,���������and pick up her coffee order on the way.���������Now?�� ������Now, get a pen and write this down.�� C�u�� t�����I want one no-foam skimmed latte with an extra shot��Ǡ����)and three drip coffees with room for milk.�� �C�u@�� 4e�����Searing hot. And I mean hot.�� ������(LINE CLICKS)�� ������ �♪ Are you ready to jump��砞����(CELL PHONE RINGING)��vC�u@�� L�����♪ Get ready to jump���������Hello?��d������EMILY: Where are you?��栥��� �Oh, I'm almost there. Yeah.��MC�u@�� `������♪ I'm ready to jump�� ������Shoot! Oh!�� ������ ♪ Take my hand��נ���� ♪ Get ready... ♪�� �C�u�� y������Is there some reason that my coffee isn't here?�� ������ �Has she died or something?��C�u�� �񠍡��No.�� �����m(WHISPERS) Fuck. God.��-C�u�� �|�����Oh. Bloody time.�� j����� �I hope you know that this is a very difficult job...�� BC�u@�� �Р����Mm-hm.��������...for which you are totally wrong.���������And if you mess up,�������� �my head is on the chopping block.���������Now, hang that up. Don't just fling it anywhere.�� �C�u@�� 7�����Okay. First of all, you and I answer the phones.�� O����� �The phone must be answered every single time it rings.�� vC�u�� ������Calls roll to voice mail, and she gets very upset.�� ������ �If I'm not here-- Andrea, Andrea--���C�u�� 5������you are chained to that desk.���������Well, what if I need to--�� )�����KWhat? No.��vC�u@�� K������One time an assistant left the desk��w������because she sliced her hand open with a letter opener,�� �����and Miranda missed Lagerfeld,���C�u�� bǠ����just before he boarded a 17-hour flight to Australia.�� (����� mShe now works at TV Guide.��pC�u�� ~������Man the desk at all times. Got it.�� ����� ](PHONE RINGS)��᠏����Uh...��NC�u@�� �������Miranda Priestly's office.���������No, she's not available.�������� �Who is it?�������� �(MOUTHING WORDS)���C�u�� �������Yes, I will tell her you called... yet again.�� c����� (BELL CHIMES)���C�u@�� ɿ�á��Right, remember, you and I have totally different jobs.��Р����I mean, you get coffee...��4����� �(SCOFFS) And you run errands.��{�����lYet I am in charge of her schedule,��)C�u@�� 䙠����her appointments and her expenses.��!������And, um, most importantly, um...�� ��ơ���I get to go with her to Paris for Fashion Week in the fall.�� �C�u@�� ������I get to wear couture.��)�����nI go to all the shows and all the parties.��a����� I meet all of the designers. It's divine.�� C�u�� �����Okay. Now, stay here.����¡���I'm going to the art department to give them the Book.�� JC�u�� 2������The--�������MThis is the Book.�� ����� �Now, it is a mock-up of everything�� �C�u@�� K������in the current issue.��������Mm-hm.���������And we deliver it to Miranda's apartment every night,��3�����?and she retu-- Don't touch it.���C�u@�� _栾���She returns it to us in the morning with her notes.�� X����� �Now, the second assistant is supposed to do this,�� �C�u@�� x������but Miranda is very private��l������and she does not like strangers in her house.�� �������So until she decides that you are not a total psycho,�� �C�u@�� �a�����I get the lovely task of waiting around for the Book.�� �������(PHONE RINGS)���������Oh, Emily? What do I do--���C�u�� �]�����EMILY: Deal with it.�� �����(RINGS)�� ����� M(SIGHS)�� `C�u@�� �O�����(RINGS)���������Hello. Mrs. Priestly's office.�� B������Hmm. That's what I meant. Miranda Priestly's office.�� ?C�u�� �T�����(GROANS)���������Um, you know, she is in a meeting.��7����� lCan I please take a message?���C�u�� �|�����Uh-huh.��Ӡ���� Okay. Can you please spell Gabbana?�� �C�u��w�����(LINE CLICKS)��򠐡��7Hello?��j������I guess not.��uC�u@��)ˠ����I guessed an eight and a half.��Ϡ����Um, uh, that's very nice of you,��Ơ����but I don't think I need these.�� uC�u��D������Miranda hired me. She knows what I look like.�� l����� �Do you?��N�����b(CHUCKLES)���C�u��e\�����MIRANDA: Emily.��������6Emily?�� ������She means you.���C�u@��~A�����(INDISTINCT CONVERSATION)�� ڠ���� MAN: We just cut on the bias.��������MIRANDA: That's not what I asked you.��UC�u@���������I couldn't have been clearer. There you are, Emily.��Š���� How many times do I have to scream your name?��򠞡��AActually, it's Andy.��uC�u���%�ơ��My name is Andy. Andrea, but, uh, everybody calls me Andy.�� �C�u��������(CHUCKLES) I need 10 or 15 skirts from Calvin Klein.��������@What kind of skirts do you--���C�u@���p�����Please bore someone else with your questions.�� ������ �And make sure we have Pier 59 at 8:00 a.m. tomorrow.���C�u@�����á��And remind Jocelyn I need to see a few of those satchels�� ����� Mthat Marc is doing in the pony.��J������And then tell Simone I'll take Jackie���C�u��������if Maggie isn't available.��񠣡��6Did Demarchelier confirm?���������D-Did D-Demarchel--���C�u��*������Demarchelier. Did he-- Get him on the phone.�� ࠗ��� $Uh, o-- Okay.���C�u��F�����And, Emily?��z������Yes?��pC�u��'�����That's all.����á���It's just the cavalier disregard for clear directions--�� zC�u���������(CHATTERING CONTINUES)��8C�u���������Do you have Demarchelier?��砛���,Uh, Demarchelier.��Ǡ����W(GROANS) Leave it.��C�u���:�����Do you have--��N����� �I have Miranda Priestly calling.���C�u���������I have Patrick!��ޠ�����Uh, no, she called me in there��C�u@������and... and then she asked me about Pier 59.��X������And, uh, there was something about Simone...�� ,������(SHUSHES)�� ,�����KFrankie, someone else.��VC�u�� ՠ����And, um, she needs skirts from Calvin Klein.�� ͠����And, uh, there was something about a pony.�� �C�u@��%�����Did she say which skirts?�� �����No. No.�� ����� KDid she say what kind? Color, shape, fabric?��������I tried to ask her.�� �������You may never ask Miranda anything.�� �C�u@��A������Right. (BREATHES DEEPLY)�������cI will deal with all of this,��4����� �and you will go to Calvin Klein.���������Eh--��MC�u@��Z@�����Me?�������LOh, I'm sorry. Do you have some prior commitment?�������� FSome hideous skirt convention you have to go to?�� EC�u��q�����Uh--��6C�u@���������(CELL PHONE RINGS)��k�����Miranda?��k������MIRANDA: Are you there?��������I'm about to walk in.�������I'll call you as soon as--�� ������(LINE CLICKS)�� �C�uA��]�����(CELL PHONE RINGS)��ࠖ���(HORN HONKS)��ࠐ���%Hello?��񠩡��%EMILY: While you're out,��񠍡�� [Hi.�������� [EMILY: Miranda needs you to go to Hermes����¡���to pick up 25 scarves we ordered for her.���C�u@���1�����Okay.��������Cassidy forgot her homework at Dalton.����͡ǁ APick that up. Oh, yeah, and Miranda went out to meet with Meisel,�� JC�u@��������and she will want more Starbucks when she gets back.��7������Hot Starbucks.���������Can you just repeat that first--��������l(DIAL TONE HUMS)��Ƞ����lHello?���C�u@�������Oh, my God.�������� �What took you so long? I have to pee!�� �����)What? You haven't peed since I left?���C�u��9 �ϡɁNo, I haven't. I've been manning the desk, haven't I? I'm bursting.�� �C�u��W䠑���Oh, hi.������� �(SNAPS FINGERS) You do coat. Do the coat!�� �C�u@��nԠ����Okay.��(�����mNow, be prepared. The run-through is at 12:30.�� ��סсUAnd people are panicking, so the phone is going to be ringing off the hook.�� �C�u@��������The ru-- The run-through. Right.��a������Yes. Editors bring in options for the shoot,�� ������nand Miranda chooses.�� C�u@���Z�����She chooses every single thing in every single issue.�� ����� RRun-throughs are a huge deal.��������?I don't know why you don't know that, Andrea.���C�u@���۠����SERENA: Okay. Are you ready?�� U�����EMILY: Oh, hi, hi.�� U����� �Right. Well, after the loo,���������Serena and I are going to lunch.���C�u@���^�����This is... This is her, the new me.��������Hi.�������� AEMILY: Told you.��4����� AI thought you were kidding.��4������No, quite serious, yeah.��kC�u@���Ƞ����I get 20 minutes for lunch, and you get 15.��U������When I come back, you can go.�� �������Okay.�� ������`SERENA: What exactly is she wearing?���C�u��^�����(EMILY GIGGLING) Her grandmother's skirt.��YC�u��5v�����Hmm. Corn chowder.��V������That's an interesting choice.�� �C�u��I�֡ЁYou do know that cellulite is one of the main ingredients in corn chowder.��C�u@��n�����So none of the girls here eat anything?��*�����oNot since two became the new four��X�����*and zero became the new two.��C�u���~�����Well, I'm a six.��Ƞ���� 6Which is the new 14.���C�u@���������Oh. Shoot.�� ������ �Oh, never mind.����ɡÁ�I'm sure you have plenty more polyblend where that came from.�� �C�u@���]�����(CASH REGISTER CLICKING)��󠏡��8Okay.��2����� �You think my clothes are hideous.��5�����)I get it. But, you know,���C�u@���Ƞ����I'm not going to be in fashion forever,��>�ȡ�so I don't see the point of changing everything about myself�� 8�����just because I have this job.�� C�u@���T�����(CLICKS TONGUE) Yes, that's true.���������That's really what this����ơ�� �multibillion-dollar industry is all about anyway, isn't it?�� �C�u�������Inner beauty.������� �(CELL PHONE RINGS)��y�����aHello.���C�u@��������Right. Come on.���������Miranda's pushed the run-through up a half an hour.��N����� �Mmm!��j�����vShe's always 15 minutes early.��������vWhich means?���C�u��8������You're already late. Come.�� ������Shoot!�� ������ �NIGEL: Excuse me.��OC�u��M �����(ELEVATOR DINGS)��)�����nMr. Ravitz.��,�����nNigel.��,C�u@��a�����Issue going well?�� �����nOh, yes. Our best September ever.�������� �Great. Heard Miranda killed autumn jackets�� �C�u��vࠪ���and pulled up the Sedona shoot.��ꠡ��� �What's that costing me?���������About 300,000.���C�u@���4�����Must have been some lousy jackets.��Ԡ���� y(NIGEL SNIGGERS)���������Irv Ravitz.���������Oh, I'm sorry.���C�u@���������This is Andy Sachs, Miranda's new assistant.��U������Congratulations, young lady.��|������A million girls would kill for that job.�� �C�u���,�����Bye-bye.��Ӡ����LHmm?��"����� �Chairman of Elias-Clarke, Irv Ravitz.�� BC�u��� ����You know what they say?�������dTiny man, huge ego.�� �C�u@���p�����No. And I've seen all this before.�� 𠪡�� 5Theyskens is trying to reinvent��?������the drop waist, so actually it's--��C�u@��������Where are all the other dresses?��a������LUCIA: We have some right here.��"����� *Stand, watch and listen.��b������And I think it can be very interesting--��zC�u@��)/�����No.�� ������No, I just-- It's just baffling to me.�� ��ɡÁTWhy is it so impossible to put together a decent run-through?�� C�u��Eڠ����You people have had hours and hours to prepare.�� ܠ���� !It's just so confusing to me.�� _C�u@��[������Where are the advertisers?��۠���� We have some pieces from Banana Republic.��K����� �No, we need more, don't we?��Р�����Oh. This is--�� `C�u@��x �����This might be-- What do you think of--���������Yeah. Well, you know me.��b����� �Give me a full ballerina skirt�������and a hint of saloon and I'm on board.��)�����Mmm.��)C�u@���y�����But do you think it's too much like--��H������NIGEL: Like the Lacroix from July?����á�� �I thought that, but no, not with the right accessories.��5C�u���������It should work.���������Where are the belts for this dre--������� Why is no one ready?��4C�u��������Here. It's a tough call.�� 7�����They're so different.�������kMIRANDA: Hmm.���C�u��ԓ�����(SNORTS, CHUCKLES)��-C�u��넠����Something funny?�� �����No. No, no. Nothing's--�� �C�u@����ҡ́You know, it's just that both those belts look exactly the same to me.���á��KYou know, I'm still learning about this stuff and, uh...��mC�u��)Ҡ����"This... stuff"?�� Ҡ����Oh. Okay. I see.�� �C�u��B������You think this has nothing to do with you.��ޠ���� �You go to your closet...�� �C�u@��[������and you select, I don't know,���������that lumpy blue sweater, for instance,���������because you're trying to tell the world��YC�u@��pU�����that you take yourself too seriously��頳���Mto care about what you put on your back.��������But what you don't know is that��C�u@���֠����that sweater is not just blue.���������It's not turquoise. It's not lapis.�� (�����aIt's actually cerulean.���C�u@���5�����And you're also blithely unaware of the fact���������that in 2002, Oscar de la Renta�� �������did a collection of cerulean gowns.���C�u@���;�¡��And then I think it was Yves Saint Laurent, wasn't it,��N������who showed cerulean military jackets?�� 堨����I think we need a jacket here.��5C�u@��ё�����Mmm.��l������MIRANDA: And then cerulean quickly showed up�������� �in the collections of eight different designers.��UC�u����ǡ��And then it, uh, filtered down through the department stores��U������and then trickled on down���C�u���~�����into some tragic Casual Corner,����š�� @where you, no doubt, fished it out of some clearance bin.�� �C�u@��㠧���However, that blue represents�������Smillions of dollars and countless jobs,�� Ѡ̡Ɓ�and it's sort of comical how you think that you've made a choice�� �C�u@��1������that exempts you from the fashion industry,��������when, in fact, you're wearing a sweater�� ɠ����that was selected for you by the people in this room,�� �C�u@��S@�����from a pile of stuff.��������(PAN SIZZLING)��$����� nANDREA: So then I said,�� ������"No, I couldn't see the difference���C�u@��i�����between the two absolutely identical belts,"��񠹡��6and you should have seen the look she gave me!����ġ��I swear, I thought the flesh was gonna melt off her face.�� `C�u���������(CHUCKLES)�� ������It's not funny.�� ������ �Ugh. She's not happy unless everyone around her�� �C�u@���|�����is panicked, nauseous or suicidal.���������And the Clackers just worship her.�� U�����qThe who?��e�����qThey call them Clackers.��eC�u@�����á��The sound that their stilettos make in the marble lobby.�� ������ @It's like, "Clack, clack, clack. clack, clack."��xC�u@��ű�����(GROANS)����š���And they all act like they're curing cancer or something.�� a������The... (CHUCKLING) ...amount of time and energy�� C�u@���̠����that these people spend on these insignificant,�� ������ minute details, and for what?��(������So that tomorrow they can spend��KC�u@���ޠ����another $300,000 reshooting something�� !����� �that was probably fine to begin with��������wto sell people things they don't need!�� BC�u��2�����God!��o�����VI'm not even hungry anymore.��C�u��+᠕���NATE: What?��U������That is why those girls are so skinny.��)����� Oh. No, no, no. Give me that.���C�u��?Ѡ����There's, like, eight dollars of Jarlsberg in there.��*�����o(SIGHS) You know what?�� �C�u@��Y~�����I just have to stick it out for a year. One year.�� Ġ���� And then I can do what I came to New York to do.�� CC�u��p �����But I can't let Miranda get to me.���������I won't.��Ҡ�����Easy there, tiger.���C�u���䠤���Oh, good morning, Miranda.��Р����Get me Isaac.��p�����*I don't see my breakfast here.���C�u@��������Are my eggs here? Where are my eggs?��5�����zExcuse me!��`����� Pick up the Polaroids from the lingerie shoot.��vC�u���۠����Have the brakes checked on my car.��������@(TRUCK HORN HONKING)��������@(GASPS)���C�u@��������Where's that piece of paper��J������I had in my hand yesterday morning?�� ꠹����The girls need new surfboards or Boogie boards���C�u@���󠨡��or something for Spring Break.��a������(CELL PHONE RINGING)��Ơ���� �Hello.�� ������ �The twins also need flip-flops.�� �C�u��H�����Ow!��>�����Oh, my gosh!��>�á���Pick up my shoes from Blahnik, and then go get Patricia.���C�u@��������Who's that?��b������Good girl! Good girl! Good girl!��ߠˡŁ �Get me that little table that I liked at that store on Madison.���C�u@��6������Get us a reservation for dinner tonight��4�����yat that place that got the good review.��(����� �Get me Isaac. Thank-you notes delivered today.��lC�u��K$�����Where is everyone? Why is no one working?��Š���� (MIRANDA'S VOICE OVERLAPPING)�� �C�u��an�����Get me Demarchelier.��MC�u���֠����I have Miranda Priestly calling for-- Okay.�� ,������I have Patrick.���C�u@���������(SIGHS) Thank God it's Friday, right?�� (����� mAt least Miranda will be in Miami,��Р�����so we don't have to be on call this weekend.�� �C�u��̑�����You know, my dad's coming in from Ohio.��l�¡���Yeah, we're gonna go out to dinner, maybe see Chicago.�� �C�u��������You doing anything fun this weekend?������� 6Yes.���C�u@���⠟���(PIANO MUSIC PLAYING)�� (����� mANDREA: Yeah, Nate said it was great.�� B����� mDAD: Mm-hmm.�� BC�u@�� ������He actually... He applied here,���������but they wanted someone with more experience.��5����� AHere.��,������Huh? What's this?��4C�u�� >�����I don't want you to get behind on your rent.������� �Dad, how did you--��������wIt's--���C�u��:ՠ����I'm gonna kill Mom. (CHUCKLES)�������� BDad, thank you.��树���mMm-hmm.���C�u��_v�����It's really good to see you.��U������You too, honey.��p������So, you wanna start grilling me now,�� �C�u@��y`�����or should we wait till after dinner?���͡ǁ]Mmm, I thought I'd let you at least enjoy the bread basket first.�� d�����#No, no, no. It's okay. Go right ahead.�� C�u@���������We're just a little worried, honey.��3�����xWe get e-mails from you at your office at 2:00 a.m.�� l�����)Your pay is terrible.��VC�u���Q�����You don't get to write anything.��񠟡��6Hey, that's not fair.��Ϡ���� JI wrote those e-mails.�� >C�u@����֡ЁI'm just trying to understand why someone who got accepted to Stanford Law��7������turns it down to be a journalist,���C�u���٠����and now you're not even doing that.��T������Dad, you have to trust me.�� �C�u@������Being Miranda's assistant opens a lot of doors.�� ������ �Emily is going to Paris with Miranda in a few months,�� C�u@��栳���and she's gonna meet editors and writers��.�����sfrom every important magazine.��E������And in a year, that could be me.���C�u@��$E�����All right?�������Mm-hmm.�������yDad, I swear, this is my break.�� ������This is my... my chance.�� (������(CELL PHONE RINGING)�� (C�u��>x�����This is... my boss.�������`I'm sorry, Dad. I have to take this.�� C�u��[������Hello. Miranda?��K������My flight has been canceled.�� u�����JIt's some absurd weather problem.�� C�u@��u6�����I need to get home tonight.��v������The twins have a recital tomorrow morning at school.��x�����xANDREA: What?�� �����xAt school!�� C�u@��������Absolutely. Let me see what I can do.�� k�����(SIGHS) Oh, good.�� k����� �Hi. Um, I know this is totally last minute,�� �C�u�����ʡābut I was hoping that you could maybe get a flight for my boss�� 4����� yfrom Miami to New York tonight?���C�u@���Ơ����Uh...��n������DAD: It's right here.��련��� �ANDREA: Yeah, any kind of jet.�������� �DAD: Thank you.���������ANDREA: From Miami to New York.���������DAD: Thank you.���C�u@���Q�����Yup, I need it tonight. I need it--��Š����Ow!��Š���� I thought you were going out the other--�������� Sweetie! No.��������bIt's over here, honey.��T�����bUh, tonight.��TC�u���L�ġ��Hi. I'm trying to get a flight tonight... for tonight...�� 5����� zfrom Miami to New York.��C�u@��������Yes, I know there's a hurricane.��������vNothing is flying out?��Ơ�����What do you mean, nothing is flying out?��VC�u@��:�����It's for Miranda Priestly, and I know that��������Ashe's a client of yours, she's flown with you before.��)����� �Yes. Yes, hi. I need a jet tonight�� C�u@��)V�����from Miami to New York.��@������Yeah. Sorry. Hold on.������� �(PHONE BEEPS)�� ����� �Hello? Miranda, hi.�� C�u@��?������Look, I'm trying to get you a flight,��`������but no one is flying out because of the weather.��)�����Please. It's just... I don't know... drizzling.�� 'C�u@��[ �����(THUNDERCLAP)�� #�����Someone must be getting out.�� #����� hCall Donatella. Get her jet.��D�֡Ё�Call everybody else that we know that has a jet. Irv?�� )C�u@��v�����Call every-- This is your responsibi--��A������This is your job.��砖��� �Get me home.���C�u@���������Oh, my God!��?������She's going to murder me.��젧����What does she want you to do,����ȡ �call the National Guard and have her airlifted out of there?���C�u���������Of course not.���������Could I do that?��Š���� �Come on. Come on.�� �C�u���⠷���The girls' recital was absolutely wonderful.�� 7����� �They played Rachmaninoff. Everyone loved it.�� �C�u���e�����Everyone except me,��T������because, sadly, I was not there.��LC�u���H�����Miranda, I'm so sorry.���������Do you know why I hired you?��������VI always hire the same girl...�� �C�u��e�����stylish, slender, of course,�� ����� �worships the magazine.���C�u��������But so often, they turn out to be...��Ӡ���� lI don't know, disappointing and, um...�� ,C�u��8������...stupid.�� �����QSo you, with that impressive resume��dC�u��P������and the big speech about your so-called work ethic...�� 頵��� LI, um... I thought you would be different.�� �C�u��l������I said to myself, go ahead.��7����� bTake a chance.��������?Hire the smart, fat girl.�� nC�u���������(CLEARS THROAT) I had hope.�� B����� mMy God. I live on it.�� �C�u�����¡��Anyway, you ended up disappointing me more than, um...�� ������more than any of the other silly girls.�� �C�u��������Um...��Ϡ����I really did everything I could think of.�� �������Uh...��Z������That's all.��ZC�u�� k�����Excuse me! Where do you think you're going?�� �C�u��a}�����She hates me, Nigel.�������� *And that's my problem because...���C�u@��v������Oh, wait. No, it's not my problem.�������� I don't know what else I can do���������because if I do something right,��kC�u@���G�����it's unacknowledged.��*�����oShe doesn't even say thank you.��񠦡�� �But if I do something wrong,��x�����bshe is vicious.���C�u���y�����So quit.��N����� �What?��n�����)Quit.��������)Quit?���C�u@����á��I can get another girl to take your job in five minutes,�� Ġ���� one who really wants it.��:������Uh, no, I don't want to quit. That's not fair.�� �C�u@���������But, you know, I'm just saying that��z����� WI would just like a little credit���������for the fact that I'm killing myself trying.�� �C�u���3�����Andy, be serious.�� ������ �You are not trying.���C�u��ࠚ���You are whining.��������I...��������5What is it that you want me to say to you, huh?�� �C�u@��(�����Do you want me to say, "Poor you.��V������Miranda's picking on you. Poor you. Poor Andy"?�� a�����AHmm? Wake up, six.���C�u@��C;�����She's just doing her job.�� `����� �Don't you know that you are working at the place��U�ǡ��?that published some of the greatest artists of the century?�� C�u��`󠫡��Halston, Lagerfeld, de la Renta.�� ������ �And what they did, what they created,�� 8C�u��|R�����was greater than art...��������Wbecause you live your life in it.���C�u���M�����Well, not you, obviously, but some people.�� �����mYou think this is just a magazine, hmm?�� �C�u���������This is not just a magazine.��)�����nThis is a shining beacon of hope for...�� �C�u@��Ǩ�����Oh, I don't know.��7�ϡɁ�let's say a young boy growing up in Rhode Island with six brothers,�� v�����Upretending to go to soccer practice���C�u@���۠����when he was really going to sewing class��?�ҡ́�and reading Runway under the covers at night with a flashlight.�� �C�u���r�ơ��You have no idea how many legends have walked these halls.�� ������ And what's worse, you don't care.�� dC�u�� ������Because this place,��8������where so many people would die to work,��校��� �you only deign to work.��C�u��#𠞡��And you want to know��J������why she doesn't kiss you on the forehead�������� �and give you a gold star��bC�u��8E�����on your homework at the end of the day.��7������Wake up, sweetheart.���C�u��[������(SIGHS)��Ƞ����Okay. So I'm screwing it up.�� C�����Mmm.�� CC�u��y������But I don't want to.��������I just wish that I knew what I could do to--�� C�u��������(SIGHS)��x������Nigel?��U������Hmm?��U����� WNigel, Nigel.���C�u���u�����No.��'������I don't know what you expect me to do.�� =����� There's nothing in this whole closet��C�u���堷���that'll fit a size six. I can guarantee you.��7������These are all sample sizes, two and four.�� �C�u@��񜠯���All right. We're doing this for you.�������� �And...�������� �A poncho?���������You'll take what I give you and you'll like it.�� �C�u�� T�����We're doing this Dolce for you.��o������Hmm!�� ����� +And... shoes.�� �C�u�� %[�����Jimmy Choo's.��������+Hmm.��砙��� WManolo Blahnik.�� �����4Wow.��C�u@�� <򠙡��Nancy Gonzalez.���������Love that.��l������(CHUCKLES SOFTLY)��l����� �Okay, Narciso Rodriguez. This we love.�� �C�u@�� P㠝���Uh... it might fit.��۠���� It might.������� What?���¡��wOkay. Now, Chanel. You're in desperate need of Chanel.���C�u@�� kߠ����Darling, shall we?��������We have to get to the beauty department,�������� Jand God knows how long that's going to take.��������J(GROANS)���C�u@�� �2�����I mean, I have no idea why Miranda hired her.�� H����� Me neither.��堻���JThe other day, we were in the beauty department.���C�u@�� �������Yeah.�� �����And she held up�� �á��nthe Shu Uemura eyelash curler and said, "What is this?"�� k�����(LAUGHING)��C�u�� �5�����I just knew from the moment I saw her,�� 𠻡�� 5she was going to be a complete and utter disas--�� �C�u@�� 쥠����(PHONE RINGS)���������Miranda Priestly's office.��n�á���No, actually, she's not available, but I'll leave word.�� 5C�u��!������Okay, thanks. Bye.��ޠ���� �(CLEARS THROAT)��K�����aHow did-- (CLEARS THROAT)���C�u��!%������Are you wearing the...��������ANDREA: The Chanel boots?���������Yeah, I am.���C�u��!♪ Look around���C�u��!�������♪ Everywhere you turn it's heartache�������� A♪ It's everywhere that you go�� ?C�u��" o�����♪ Look around��M������♪ You try everything you can to escape��C�u@��" ������♪ The pain of life that you know�� !�����(HORN HONKING)�� !����� �♪ The life that you know��Y�����@♪ If all else fails And you long to be�� IC�u��"=N�����♪ Something better than You are today�� nC�u@��"R)�¡��♪ I know a place Where you can get away�� 4����� y♪ It's called a dance floor��ʠ�����♪ And here's what it's for�� �������(CELL PHONE RINGS)�� �C�u��"p������♪ Come on, vogue��Ӡ���� b♪ Let your body move To the music�� kC�u@��"�������♪ Move to the music�� ������♪ Hey, hey, hey�� ������ �♪ Come on, vogue���������♪ Vogue���C�u@��"�<�����♪ Beauty's where You find it...��)�����nMIRANDA: The gowns are fabulous.�� �������Mm-hmm. We're gonna use the burgundy.�� �C�u��"�Ӡ����♪ ...Vogue��7�����x♪ Ooh, you've got to just...�� @C�u��"�Р����Gotta find--��4�¡��y♪ ...Let your body go With the flow ♪�� �C�u��"�D�����So we spent a whole semester on potatoes alone.��4�����yYou take the fry and squeeze it.��,C�u@��"�L�����See how firm that is?��������Hey.��������XOh, I'm so sorry I'm late.�� 頼����There was a crisis in the accessories department.�� �C�u@��#������I needed to find a python headband.��蠡���-Python's hot right now.��堳���WI have exciting presents for all of you.�� C�u��#1������Are you ready?��M����� @(SNICKERS) What is that?��۠����`ANDREA: It's a Bang & Olufsen phone.�� �C�u��#J������Charlie Rose sent it to Miranda for her birthday.�� 򠮡�� 7I looked it up online. It's $1,100.�� �C�u��#b������What?�������Wow!�������bAnd I have some products. Mason Pearson hairbrushes.�� �C�u��#w������A little Clinique.��U������Ooh!��g����� FOh, damn it. I love your job.��$������ANDREA: Oh! One more.��C�u@��#�������A little thing.��y�����(GASPS)��y����� �Do you want it? You want--��Z����� �Gimme! Gimme!��Z�����JOh.��l�����JGimme, gimme!��lC�u@��#�������I think she likes it.��������Oh, my God!���������This is the new Marc Jacobs!�������This is sold out everywhere. Where did you get this?���C�u��#�堧���Miranda didn't want it, so...�������� @Oh, no, no, no, no. This bag is, like, $1,900.�� KC�u��#е�����I cannot take this from you. (CACKLES)�� ����� LYeah, you can.��4������Why do women need so many bags?��JC�u@��#� �����Shut up.��4�����You have one.��4�á��yYou put all your junk in it, and that's it. You're done.��x�����6Fashion is not about utility.��7C�u��#�٠����An accessory is merely a piece of iconography�� ������ �used to express individual identity.�� C�u��$.�����Oh! And it's pretty.�� 堓��� *That too.�� �����xYeah. But, you know, the thing is, it turns out��BC�u@��$(K�����there is more to Runway than just fancy purses.���������Look, here's an essay by Jay McInerney,�� �����Ja piece by Joan Didion.���C�u@��$As�����Even an interview with Christiane Amanpour.�� ����� KLooks like someone's been drinking the Kool-Aid.��Ѡ����aWhat are you--��������a(CELL PHONE RINGING)���C�u@��$`������Nate.��������I got it. It's--��������XYup, the Dragon Lady.��J�����XOh, Miranda?��J����� �Let me talk to her.��o����� �No. Okay, I need that.��o������I'll tell her to get her own scrambled eggs.���C�u@��$wh�����Lily, no, no, no! Put that thing up!��Ġ���� I was gonna answer it! I was gonna...��l����� (PHONE RINGING)��l������It's gonna make... Give me the... phone.�� C�u@��$�o�����(BEEPS)�������L(ALL CHUCKLING)��l�����LANDREA: Hi, Miranda.��l������(ALL SNICKERING)���������(ANDREA SHUSHES)���C�u��$�������Absolutely.���������(SHUSHING)��4����� wUh-huh. I'm leaving right now.�� !C�u��$�������You know, you guys didn't have to be such assholes.��tC�u��$�q�����(RINGS)��C�u��%K�����(SOFT ELECTRONIC MUSIC PLAYING)�� iC�u��%N������Um, excuse me.��!������I'm looking for James Holt.�� �����lUm, that's him right there.�� )C�u@��%iנ����Oh. Thanks.��z������No problem.��)����� KI put my stuff out there...��򠑡�� KReally?��򠥡���...and I pray they improve.��C�u��%�������Excuse me.��������Hi.���������I'm Andy. I'm picking up for Miranda Priestly.�� �������Oh, yes.��nC�u@��%�������You must be the new Emily.��ڠ����(CHUCKLING)�� �����Nice to meet you.�� ������Oh, let me see that bag.���C�u@��%� �����Ah.�� �����Very, very nice.�� �����nDistressed, studded leather, pieced by hand,��(������finished with a metallic fringe.��WC�u��%Ã�����(CLICKS TONGUE) Very nice, indeed.��J������Who made that fantastic thing?��{�����VYou.���C�u��%������Hmm. Duh.��M����� �This way.��-C�u@��%�ޠ����Uh, here we go.���������It's a sketch of Miranda's dress for the benefit.�������@Also the centerpiece of my spring collection.��fC�u@��& ɠ����(WHISPERS) Top secret stuff.��q������Oh, I'll guard it with my life.��e����� }Please do.��*������Come on. You're working for Miranda Priestly now.���C�u��& ������You must be in desperate need of hard liquor.��,����� Uh...��栢��� K(UP-TEMPO MUSIC PLAYING)�� C�u��&7b�����Excuse us, girls.�������LShe'll have the punch.��������/(CLEARS THROAT)���C�u@��&U�����It's deadly. Have fun.��Y������(UP-TEMPO MUSIC PLAYING)��l�Сʁl♪ And that you never seem To be in short supply of...�� �C�u@��&q������He's... he's right, you know.�������� Hmm?������� The punch.�������WI drank it at James's last party.���C�u��&������I woke up in Hoboken wearing nothing��|������but a poncho and a cowboy hat.��P�����VAh. Well.��YC�u@��&�,�����♪ ...You know I've wanted you so long�� �����NWise.��z�����N(CHUCKLING)��z������Uh, hi.���C�u��&�������Christian Thompson.�������� �Christian Thompson? You're kidding.�� C�u@��&ȕ�����No, you're...�������WYou write for, like, every magazine I love.������� �I actually-- I reviewed your collection of essays�� �C�u@��&�,�����for my college newspaper.���������Did you mention my good looks and my killer charm?��{������No, but--��-������What do you do?��-C�u@��&������Oh. Well...��p������I wanna work for somewhere���������like The New Yorker or Vanity Fair.���C�u@��'������I am a writer too.�������Is that right?�������MMm-hmm.��a�����MWell, I should read your stuff.��a����� �Why don't you send it over?��L������Yeah?���C�u@��'-������That would be--��`������Thank you. That would be great.�������� �(GIGGLING)�������But actually, right now,���C�u@��'A������I'm working as Miranda Priestly's assistant.�� ����� cOh, you're kidding.��������5Well, that's too bad.��������*That's... whoa.���C�u��']������You'll never survive Miranda.�� ����� �Excuse me?��������mWell, you just seem nice, smart.�� �C�u��'y󠠡��You can't do that job.��������QGotta go.���C�u��'�{�����Okay.��I�¡���Well, it was very, very nice to meet you, Miranda girl.���C�u��'ߣ�����Emily?��NC�u@��(������MIRANDA: Call James Holt's office.��8�ơ���Tell them I want to move the preview up to today at 12:30.�� `�����@Tell everybody else.���C�u@��(�����Be ready to leave in half an hour.�� ��š�� �NIGEL: But we're not expected until Tuesday.�������bDid she say why?��C�u@��(4ࠢ���Yes. Yeah, she explained���������every detail of her decision making.��f����� �And then we brushed each other's hair�� ������and gabbed about American Idol.���C�u@��(L������I see your point.��Ơ���� ANDREA: What's a preview anyway?��v����� �Good morning, Miranda.��񠴡���NIGEL: Miranda insists upon seeing���C�u@��(c��Ρȁall the designers' collections before they show them.�� ������ AGreat to see you.������� AHello, James.���ġ���ANDREA: And she tells them what she thinks?��C�u@��(|������NIGEL: In her way.��3�����xUh, this season really began for me with a meditation�� l�����)on the intersection between East and West.�� �C�u@��(�1�����NIGEL: There's a scale. One nod is good.��Š���� Two nods is very good.�� �ơ��lThere's only been one actual smile on record,��xC�u@��(�Z�����and that was Tom Ford in 2001.��������;JAMES: An obi belt.��.�ɡÁ �NIGEL: She doesn't like it, she shakes her head.��Ԡ�����This... This is the dress that���C�u@��(�t�����we have designed specifically and exclusively for you.�� ������ �NIGEL: Then, of course,��b������there's the pursing of the lips.���C�u��(�ՠ����ANDREA: Which means?���C�u��(������NIGEL: Catastrophe.��!����� �(WHISPERS) Just, uh... Just go.�� �C�u@��)������I just don't understand. I'm appalled.�� ������It's absurd. Appalled.�� ������ �You deal with it.�������� �I'll talk to him.���C�u@��)+8�����So because she pursed her lips,���������he's gonna change his entire collection?�� �����JYou still don't get it, do you?���C�u��)BI�����Her opinion is the only one that matters.�� ͠����)Call my husband and confirm dinner.�� !C�u@��)^������At Pastis? Done.��4�����yAnd I'll need a change of clothes.��(�ȡ �Well, I've already messengered your outfit over to the shoot.�� �C�u@��)~������Fine. And, Andrea,��q�á���I would like you to deliver the Book to my home tonight.�� f�����aHave Emily give you the key.���C�u��)�᠑���Mm-hmm.��Ҡ���� �Guard this with your life.��{C�u@��)�󠔡��Of course.��M����� �You know, if I can deliver the Book,��꠼���then that means I must have done something right.���C�u@��)������I'm not a psycho.�������LOh, and, you know, she called me Andrea?��������I mean, she didn't call me Emily,��@C�u��)�"�����which is... Isn't that great?���������Yeah, whoopee. Right.�� �C�u��)�j�����Now, it's very important that you do exactly�� d����� �what I'm about to tell you.��!�����LOh. Okay.��jC�u@��* e�ơ��EMILY: The Book is assembled by 10:00, 10:30,�� I�ġ�� �and you must wait around for it until then.�� dC�u��*%��ȡYou will be delivering Miranda's dry cleaning with the Book.���C�u@��*=��ܡցNow, the car will take you straight to Miranda's townhouse.�� C�����*You let yourself in.���C�u��*]b�����Andrea.��o������You do not talk to anyone.��M������Do not look at anyone.��vC�u@��*u������This is of the utmost importance.�������YYou must be invisible.��Р���� nDo you understand?��+������Uh-huh.���C�u@��*���СʁEMILY: You open the door and you walk across the foyer.�� à���� You hang the dry cleaning in the closet�� �C�u��*�������across from the staircase.��,C�u��*�#�����Uh...����աρ�EMILY: And you leave the Book on the table with the flowers.�� zC�u��*�à����(ANDREA PANTING)�������� 6Shit!��������4GIRL: It's that door to the left.���C�u��+ L�����Okay.���C�u��+,������(WHISPERS) Thank you.��{����� AYou can give the Book to us.��������Shh. Which... Which table?�� �C�u@��+Im�����GIRL 2: It's okay. Come on up.��砫���,(WHISPERS) No, I can't. I can't.�������� nWhat? It's okay.�������� nCome on.��������UYeah, come on. It's okay.�� ������UPlease stop talking.�� �C�u��+es�����Or you can bring the Book upstairs.��3�����xEmily does it all the time.��������@(WHISPERS) She does?��UC�u��+zM�����Right. She does, all the time.��Y����� Yeah? Okay.��YC�u��+�������(GIGGLING)�� ΠɡÁMIRANDA: What did you expect me to do, walk out in the middle���C�u@��+�ߠ����of a cover shoot?��������(SHUSHES)����š���STEPHEN: I rushed out of an investment committee meeting,��k����� �and I sat there waiting for you for almost an hour.��@C�u@��+�񠻡��MIRANDA: I told you the cell phones didn't work.���������Nobody could get a signal out.����ʡā �STEPHEN: I knew what everyone in that restaurant was thinking,��4C�u��+������"There he is, waiting for her again."�� �C�u@��,Ih�����Okay, okay! Okay, okay.��w�����Oh, no. (SHUSHES)��w������It really wasn't that big a deal. I promise.���������The twins said hello, so I said hello back.���C�u@��,b,�����Then I went up the stairs to give her the Book and...�� ������ �You went upstairs? You went upstairs.��3�����aOh, my God. Why didn't you just���C�u��,zϠ����climb into bed with her and ask for a bedtime story?�� ����� bOkay, I made a mistake. I know.���C�u@��,�������Andrea, you don't understand.��������AIf you get fired, that might jeopardize Paris for me.�� U������And if that happens, I will search every Blimpie's��7C�u��,�*�����in the tristate area until I track you down.��������XShe's gonna fire me?��,�����KI don't know.��*C�u��,�䠍���Oh.��M�����She's not happy.��M����� bMIRANDA: Andrea?��!C�u��,�k�����(EMILY SNAPS FINGERS)��/�����t(BREATHING HEAVILY)�� xC�u@��,�'�����Miranda, about last night, I--���������I need the new Harry Potter book for the twins.�� Y�����JOkay. Okay.���C�u@��-������I'll go down to Barnes & Noble right now.����ɡÁDid you fall down and smack your little head on the pavement?�� YC�u@��-/u�����Not that I can recall.��Ԡ����6We have all the published Harry Potter books.�������� yThe twins want to know what happens next.���C�u@��-Kz�����You want the unpublished manuscript?��ܠ���� !We know everyone in publishing.��������It shouldn't be a problem, should it?���C�u��-b񠪡��And you can do anything, right?�������� b(SCRIBBLING)�� dC�u��-|������(CLEARS THROAT)��c�����(CELL PHONE RINGS)��c�����Yes, Bobbsey.���C�u@��-�������I know, baby.���������Mommy's working very hard to get it for you.�� ?����� rShe doesn't get it.��v�����-You know, I could call frickin' J.K. Rowling herself.�� NC�u@��-�������I'm not gonna get a copy of that book.��������AMIRANDA: My girls are leaving on the train��Ѡ���� Wfor their grandmother's at 4:00,��Р����lso the book better be here no later than 3:00.�� `C�u��-ɦ�����Of course!��Ԡ����6And I would like my steak here in 15 minutes.�� n�����No problem! (PANTING)�� �C�u@��-�ؠ����Okay. I have four hours���������to get the impossible manuscript.��Š�����Smith & Wollensky's doesn't open until 11:30.���C�u��-�������How am I gonna get the steak?��Ƞ���� LOkay. I will be back in 15 minutes.�� 4C�u@��.������Wish me luck!��Ϡ����No. Shan't.��Ϡ����Yes, yes, yes, yes. I've been on hold.��l������Uh, well, it's for Miranda Priestly.��UC�u��.-�����It's very important.��Ġ���� Yes, I know it's impossible to get,�� K������but, well, I was wondering���C�u@��.D󠵡��if you could make the impossible possible,��栰���+if that's at all possible. (LAUGHING)�� �š��UYes, I'm calling about the Harry Potter manuscript.�� �C�u��.bF�����Uh, no. Unpublished.�� w����� �Not a chance? Uh...���C�u��.w�����Tell her that it's for Miranda Priestly.��)�����n'Cause I think it makes a difference.���C�u@��.�������Let me call you back.��򠮡��7Hi, you probably don't remember me.�������� But we met at James Holt's party.�������aI'm Miranda Priestly's assistant.���C�u@��.��¡��The Harry Potter manuscript? Oh, you're kidding.�� ������ �ANDREA: Uh... (CHUCKLES NERVOUSLY)��꠼���4...sorry to ask, but I'm desperate.�� C�u@��.Ь�����Just tell her it can't be done.��4�����yYou'll have to come up with a Plan B.��)����� �Well, this is Miranda Priestly we're talking about.�� )C�u��.������There is no Plan B. There's only Plan A.��ޠ���� Is she back? Am I fired?�� �C�u��.�(�����I rarely say this to people who aren't me,�� ������ �but you have got to calm down.��,C�u��/������Bloody hell!��BC�u��/2m�����Coat, bag.��Ԡ�����What's that?��b�����)Oh, I don't want that.���C�u��/K������I'm having lunch with Irv. I'll be back at 3:00.�� ����� XI'd like my Starbucks waiting.��oC�u@��/a8�����Oh.���¡��MAnd if you don't have that Harry Potter book by then...�� ������don't even bother coming back.���C�u��/}^�����(UPBEAT MUSIC PLAYING)���C�u��/�n�����(UTENSILS CLATTERING)��)�����n(PHONE RINGS)��Š����xHello.���C�u@��/�j�����Quit? Are you sure?��U������I failed.��?����� She's gonna fire me anyway.�� �����lI might as well beat her to the punch.���C�u@��/�ՠ����NATE: Wow.�� �����nAndy, good for you.������� �Congratulations. You're free.��?�����kYeah. Well, listen, I'll call you later.��C�u@��/꘠����NATE: Okay.��a�����(LINE CLICKS)��a������(PHONE RINGS)���������Hello.��������xI'm brilliant. No, really.�� �C�u@��0:�����Monuments should be erected in my honor.�� 栕��� +You didn't.��󠒡��cOh, yes.��B�����A friend of a friend does the cover art,���C�u��0]�����and she happens to have the manuscript.��1�����Oh, no, 'cause that would mean��3C�u��03ؠ����that I actually did something right.��񠧡��6(CHUCKLES) It's just... Ugh!�� (C�u@��0I{�����The thing is, Christian, I was just...��Ƞ����+Look, you want this thing, you better hurry.��)������I'll meet you at the St. Regis.���C�u��0�Z�����Excuse me.��Y�����(HORN HONKS)��YC�u@��0�g�����Welcome to the St. Regis.��Р����May I assist you with anything?��������Oh. Yes.�������� 6Uh, I'm meeting someone at the, uh...��Ƞ����aKing Cole Bar.��8�����aRight this way.��8C�u��0������Hi.��w������You have one hour.��,������Thank you.��,C�u@��1 @�����One copy.��/�����tWhat are my twins gonna do with that?������� �Share?���������Oh, no, I made two copies,���C�u@��1%������and had them covered, reset and bound��M������so that they wouldn't look like manuscripts.��������This is an extra copy to have on file.��VC�u@��1:7�����You know, just in case.�� d����� �Well, where are these fabulous copies?��*�����5I don't see them anywhere.��oC�u@��1P?�����(WHISTLE BLOWS)�� B����� �ANDREA: They're with the twins,���������on the train on the way to Grandma's.��C�u��1q������Is there anything else I can do for you?��j������Mm-mm.���C�u��1�Р����That's all.��Ӡ����nOkay.���C�u��1�`�����(DOOR OPENS)��ՠ���� ANDREA: Hey.������� mHey. I went to Dean & Deluca.���C�u��1��ġ��Man, they charge, like, five dollars a strawberry there.�� (����� mBut I figure since you quit your job,��7C�u��1�������we should celebrate.��ޠ�����Listen, Nate.��à�����Wait a minute. You quit your job,��C�u��2��¡��but you're still working on the twins' science project?�� �C�u��2$N�����Well, that's big of you.��Y������Okay... after we talked,�� Ġ�����I realized it doesn't make sense�� �C�u��2?(�����throwing away all those months of hard work.�� 蠷��� KI just had a moment of weakness, that's all.��4C�u��2T젵���Yeah, well, either that, or your job sucks��񠣡��6and your boss is a wacko.���C�u��2o������All right.���������Whatever. It's your job.�� C�u��2�������ANDREA: Nate.��{����� ,Come on.��������bI'm still the same person I was.���C�u��2� �����I still want the same things.������� bOkay?�������� bMm-hmm.��������JI promise.��KC�u��2�䠤���Same Andy, better clothes.�� (����� m(GIGGLES)��K������I like the old clothes.���C�u��2� �����Really?��o����� aWell, what about these necklaces? Do you like them?���C�u��2�T�����No?���������And this dress, it's new.���C�u��3Q�����Eh.��Ġ���� Well, there is one other thing that's new�� ������that I thought you might like.��[C�u��3󠔡��But, uh...��堚���*What about this?��ܠ���� K(UP-TEMPO MUSIC PLAYING)���C�u@��33G�����You don't like it. I should better do...��Ѡ����No, no, no, no.��Ġ����♪ But we're never Gonna survive�� TC�u��3M������♪ Unless we get a little crazy��6C�u@��3f������♪ No, we're never Gonna survive�� k����� �♪ Unless we are A little crazy...♪���C�u��3�������NIGEL: Is this number two look?��栝���+This is number two?��,����� �Hi.��l����� �Hi. All right.��lC�u@��3�I�����Turn around for me, darling.���������Oh, I get it. I get it. I get it.��>�����`The piece is called "Urban Jungle," right?���C�u@��3�������Yes, the modern woman unleashes the animal within�� ����� Lto take on the big city.��)������(GROWLS) Good. Go.��CC�u@��3�w�����(SIGHS) Sometimes I can't believe��5�����zI talk about this crap all day.�������� kBobby, come here. Let me see.�� @����� kOh, thank you. Thank you.�� @C�u@��3�g�����Make sure Miranda gets these as soon as possible.��`������And tell her I switched in the Dior for the Rocha.�� z������(SCOFFS) Oh, great. Can't wait.�� �C�u@��4 ������Excuse me.��*�����oCan we adjust the attitude?��U����� I'm sorry.��Š����Don't make me feed you to one of the models.��aC�u��4"������I'm sorry. It's a busy day.�� ڠ���� My personal life is hanging by a thread, that's all.�� �C�u@��48ޠ����Join the club. That's what happens��Y������when you start doing well at work, darling.�� Π�����Let me know when your whole life goes up in smoke.�� �C�u��4S������That means it's time for a promotion.��-C�u��4yc�����No. All right, February, back of the issue.�� ����� WDid anybody speak with Salma's people yet?�� C�u@��4�&�����Yes, but she'd rather do a summer cover��b������because she has a movie coming out.��U������No.��U�����AMIRANDA: Also, I'm pulling the Toobin piece���C�u@��4�.�����on the Supreme Court women...���������(INHALES) ...woman.��Ġ���� �And I need to see a new draft on that piece�� �C�u@��4�������about shopping for a plastic surgeon. It's dull.�� ������ @And this layout for the Winter Wonderland spread.�� �C�u@��4�E�����Not wonderful yet.��V������Oh, okay. I... I'll look at it.��������mWhat about Testino? Where are we on that?���C�u@��4�ݠ����Zac Posen's doing some very sculptural suits.����ΡȁXSo I suggested that, uh, Testino shoot them at the Noguchi Garden.���C�u@��5 ���Perfect.��-������MIRANDA: Thank God somebody came to work today.�� k�����@What about accessories for April?��kC�u@��5 ߠ����One thought I had was enamel.���������Um, bangles, pendants, earrings.���������No. We did that two years ago. What else?��C�u��5:�աρUm, well, they're showing a lot of florals right now, so I was thinking--��m������Florals? For spring?�� �C�u@��5T������Groundbreaking.���ơ��7But we thought about shooting them in an industrial space.����ʡā )We thought the contrast between the femininity of the florals,�� �C�u@��5n�����and the more raw, rough-hewn background��Р����would create this wonderful tension between--��U����� �No.�������� Which?��kC�u��5�������(EMILY COUGHING)��砍���,No.��n������(EMILY WHEEZING)���C�u��5�Ƞ����(COUGHING CONTINUES)��B����� xDoes anybody else have anything I can possibly use?�� zC�u��5�H�����Antibacterial wipes perhaps?�� �������(GROANS)���C�u��5�,�����ANDREA: How's the cold doing?��6�����{Like death warmed up, actually.��������y(SNIFFLES) Oh, God.�� kC�u@��5�U�����It's the benefit tonight.��Р����I've been looking forward to it for months.�������� I refuse to be sick.���������I'm wearing Valentino, for crying out loud.��C�u��6 ,�š��Right. Well, everybody will be leaving soon to get ready,�� Ƞ���� +so, I suggest you go��kC�u@��6"�����and drop Miranda's Fendi bag off at the showroom,�� ?����� �and then I suppose you can just go home.��Ơ�����Yeah?���C�u@��67������Oh, well, that is great.�� 젛��� 1Perfect actually.��q������I need to get to Magnolia Bakery before it closes.��wC�u@��6PM�����It's Nate's birthday tonight.��l������So we're, uh, having a little party for him.�� �����Yeah, I'm hearing this, and I wanna hear this.�� �C�u��6q������Bye.�������� bI love my job. I love my job. I love my job.�� )C�u��6�Y�����(CHATTERING)�� �C�u��6�������(CELL PHONE RINGS)��Ҡ���� �Hello?��oC�u@�6›�����Before the benefit tonight, I need to make sure�� ������ �that you're both fully prepped on the guest list.�� yC�u@��6�à����But, I... (STUTTERS)���ơ��Xthought that only the first assistant went to the benefit.��ڠ����wOnly when the first assistant hasn't decided to become�� C�u��6�������an incubus of viral plague.�� N�����}You'll come and help Emily.��C�u��7������That's all.�������� ]Right.��i����� *These are all of the guests.��JC�u@��7(g�����Miranda invites everyone.�������XAnd we have to make sure that they all think��Š���� bthat she knows exactly who they are.��lC�u@��7♪ I'm too near To make it clear�� ������ ♪ Emotional suicide�� MC�u��8[�����♪ Is this love I'm thinking of...�� Π����Oh, oh, my God. Andy, you look so chic.�� C�u��8vu�����Oh, thanks, Em.��"����� �You look so thin.��4������Do I?���������Yeah.���C�u@��8�l�����Oh, it's for Paris. Well, I'm on this new diet.���������It's very effective. Well, I don't eat anything.��������And then when I feel like I'm about to faint,���C�u@��8�Š����I eat a cube of cheese.��e������Well, it's definitely working.��?������I know.��?����� LI'm just one stomach flu away from my goal weight.��wC�u@��8�͠����(ELECTRONIC DANCE MUSIC PLAYING)��ʠ����♪ Look at us, we're beautiful�������� �♪ All the people Push and pull but�� �C�u��8�Ƞ����♪ Let's just go out and ride�� Ϡ���� ♪ Talk about the things we try�� �C�u��8�g�͡ǁThat's John Folger, the new artistic director of the Chelsea Rep.��������John.��������Hey, there.���C�u��9M�����Thanks for coming.��������JOHN: Oh, thank you. It's always nice seeing you.�������� �Stop fidgeting.���C�u��9(������I'm sorry. I'm so late.��栲���+Just deal with it. You have to be here.��YC�u@��9M �����Emily, come here.����¡���Isn't that Jacqueline Follet from French Runway?�� 3�����lOh, my God, and Miranda hates her.��4C�u@��9i�����She was supposed to arrive after Miranda left.��񠘡��6I didn't-- Oh.��3�����6Yeah.��3������Miranda, fabulous event as always.�� C�u��9������You brought Jacqueline.��N������Surprise.�� 󠡡���Quelle surprise.�� �C�u@��9�������Oh, wonderful.����Ρȁ�We're so happy that you were able to come to our little gathering.�� 3�����>Of course. I plan my whole year around this.���C�u��9�������Well, we're so grateful that you do.���C�u@��9�_�����JACQUELINE: Ciao.�� ������Have you gotten my note?�� ������ �Yes, I did.��Р���� �Oh.��Р�����We'll discuss it on Wednesday.���C�u��9�/�����Yes, I agree.��񠞡��6No business tonight.��-�����6Not tonight.��-����� �Enjoy.�������� �(SNIFFLES)���C�u��:Ҡ����Em.��Y������Oh, thanks. Thanks.���C�u@��:$r�����Oh, um... Oh, my God.�� Š���� I just can't remember what his name is.�������aI just saw his name this morning on the list.��lC�u��:>������It's... Oh, I know this. It's something to do with...�� ������ �Wait, he was... he was part of the...�� C�u@��:S������Oh, God, I know this. Um...�� |����� �It's Ambassador Franklin,��@�á��Fand that's the woman that he left his wife for, Rebecca.�� yC�u@��:z������MIRANDA: Rebecca.��>������Ambassador.���������Miranda.�������� wYou look fabulous.�� M����� wMIRANDA: Oh, very kind.�� MC�u��:������Thank you.���������(CHATTERING CONTINUES)��,C�u��:�������Look at you.��������Hello.���������You're... You're a vision.��Ġ����Oh. (SCOFFS)���C�u@��:�̠����Thank God I saved your job.���������(STAMMERS, CHUCKLES)�������� �You know, I figured out a few things on my own too.���C�u@��:�n�����Turns out, I'm not as nice as you thought.��͠����6I hope not.��Ԡ�����Well, if it weren't for the stupid boyfriend,��C�u��;�����I'd have to whisk you away right here and now.��7�����Do you actually say things like that to people?�� PC�u��;&�����Evidently.��������(GIGGLES)���������Well, I gotta go.��U����� �Are you sure? 'Cause my editor���C�u@��;9������for New York Magazine is inside,��x������and, you know, I could introduce you two.��������)You sent over your stuff for me to look at?���C�u@��;U������Remember?��頏���Yeah.��頺���LAll right, I gotta admit, I only read a couple.�������� *It was a very large packet you sent.�� ڠ���� *(LAUGHING)�� �C�u@��;k������Yeah.��������But what I did read wasn't half bad.���������And, you know, I think...��k����� �I think you have a talent, Andy.��{C�u��;�h�����He should meet you.��V������Why don't you come in? Just for one drink.��d����� bUm... okay, yeah.���C�u��;������I guess I could for one...��Y����� QNo, I can't. I'm sorry, but I have to go.�� �C�u��;�������All right. Give my best to the boyfriend.�� �C�u��;�������Roy, I'm sorry. Can you go any faster?�� @����� �I'm sure Nate will understand.���C�u��;�㠏���Yeah.�������� (INDISTINCT TV CHATTER)�� `C�u��< ������ANDREA: Hey.���C�u��������Wait. You want me to--�������� �(STAMMERING) No, Miranda.�� IC�u��>-�����(EXHALES) Emily would die.�������� ]Her... whole life is about Paris.�� ]C�u��>1K�����She hasn't eaten in weeks. I...��+������I can't... do that.�� ������lMiranda, I can't.���C�u��>M������If you don't go, I'll assume you're not serious���������about your future at Runway or...�� �C�u��>d�����any other publication.���C�u��>�r�����The decision's yours.��ߠ����nThat's all.���C�u��>�������(SLEEP SONG PLAYING)�� ����� J♪ Fill these spaces up With days��tC�u��>ຠ����♪ In my room�� ����� b♪ You can go you can stay��>C�u��>�������(LAUGHING)�� 栢��� +♪ I can't sleep�� �C�u��?������♪ I can't speak to you���������♪ I can't sleep�� *C�u��?T۠����♪ Now these years Locked in my drawer���C�u��?o������♪ I'll open to see�� �������♪ Just to be sure��VC�u@��?�頔���Hey, Andy.��𠎡��5Hey.�� \�����5You coming to bed anytime soon?�� \������Uh, yeah. Five minutes, okay?���C�u��?�R�����♪ I can't speak to you�������V♪ I can't sleep�� cC�u��?�L�����(SIGHS)��zC�u��?�!�����(FAX PRINTING)�� �C�u��@)������(CLEARS THROAT)��CC�u��@|������Andrea, don't forget to tell Emily.���������Do it now.���C�u@��@�������(LINE RINGING)�� ������Don't pick up.�� ������ �Don't pick up.��b�����KDon't pick up. Don't pick--�������KEMILY: Hi.��C�u@��@������Emily.��۠����Hi, hi. Sorry I'm late.��۠���� It's just Miranda wanted some scarves from Hermes.�� �š��KAnd she did tell me yesterday, but I forgot like an idiot.�� TC�u@��@�������And so I freaked out, of course.�������dEmily, Emily, I... I need to talk to you.�� T�͡ǁ�But then I called Martine at home, and she opened the shop early.���C�u@��AR�����Whoa! I'm sorry.���������She opened the shop early for me,������� Mso I got them, which is great.��Ϡ����aOkay. Um... Emily, wh... when you come in,�� jC�u@��A%b�����there's something we... I have to talk to you about.��РΡȁEMILY: Well, I hope it's not another Miranda problem.���������Not exactly.���C�u@��A=�ۡՁWell, good, because I've got so much to deal with before I go. I swear to God--�� W����� �(GASPS)��U����� �(HORN HONKS)��U�����6(TIRES SCREECHING)��KC�u��ARࠝ���(PEOPLE EXCLAIMING)�� ������ WOMAN: Oh, my God!��C�u��AfѠ����Emily?�������M(WOMAN ON P.A. SPEAKING INDISTINCT)�� ������@(ELEVATOR BELL DINGS)���C�u��A{�����(INDISTINCT CHATTER)�� �C�u@��A�������I don't care if she was gonna fire you�� ?����� �or beat you with a red-hot poker!��Š�����You should have said no.���C�u@��A�������Emily, I didn't have a choice.���������Oh.��*������You know how she is.��*�����bPlease. That is a pathetic excuse.���C�u��A�������(DOOR OPENS)��T�����lThanks.���C�u@��A�*�����Do you know what really just...���������gets me about this whole thing,�� T������is that, you know, you're the one who said�� �C�u@��A�������you don't really care about this stuff.�������cAnd you don't really care about fashion.��񠪡���You just wanna be a journalist.��XC�u@��B 頢���What a pile of bollocks!��?������Emily, I know you're mad. I don't blame you.��w�����@Face it, Andy, you sold your soul��UC�u@��B%à����the day you put on that first pair of Jimmy Choo's.��l������I saw it. And you know what really just kills me�� �C�u��B;������about this whole thing,�������Xis the clothes that you're gonna get.��񠝡�� �I mean... (MUMBLES)���C�u��BOX�����...you don't deserve them.���������You eat carbs, for Christ's sake.�� �������God, it's so unfair!�� BC�u��Bq\�����Emily.�������Just go.��C�u��B�a�����Emily, I--��������I said go!���C�u��B�̠����(SIGHS)��Р����DOUG: You are going to Paris for the couture shows?��񠙡��KANDREA: Mm-hmm.�� C�u@��B�������DOUG: That's the coolest fashion event of the year.��5�����zMm-hmm. (GIGGLES)��񠲡�� �Who are you gonna see, Galliano? Yeah.�������And Lagerfeld.�� �����Yep.�� C�u@��B������And Nicholas Ghesquiere.��Ġ����Yes.��Ġ���� (CHUCKLES)�������� Okay, now you're scaring me.���������Hey.���������Hey.���C�u@��B�Ԡ����This show is amazing.�� `����� �I am so proud of you.�� ����� �LILY: Thank you.�� �����Okay, start with the photos in the back��aC�u@��C ������and work your way forward.���������That is the way I designed it.��E����� bIt is brilliant. You will love it.��!������Of course.���������And you,���C�u@��C!q�����I have somebody I want you to meet, okay?���������Ooh, art and sex. Lead the way.��)�����6See you later.��-�����6Okay.��-C�u��C♪ I've no regrets�� �C�u��C[r�����♪ Every single work I find�� C�u��Cp������♪ Don't hold our breath��b������Hey.��AC�u��C�Ġ����♪ Wait for another sign...♪���������Hey, Miranda girl.��7�����kHi.���C�u��C������I was just thinking about you.��Š���� Oh, come on.���������It's true.��񠍡���No.���C�u��C�L�����I'm profiling Gaultier for Interview�� 񠪡�� 6and, uh, making my Paris plans.�� C�u@��C�㠢���I found myself wondering�������yif, uh, you were gonna be there.�� ������wWell, actually, um... I am going.���C�u@��C�ܠ����Great.����¡���I'm staying in a fantastic little hotel in the Seventh,�� ��ۡՁ�right across the street from the falafel restaurant that will change your life.��C�u@��D������(CHUCKLES)���������I'm sorry. I'll be too busy working.�� Ҡ����.You'll have to find someone else's life to change.�� 6C�u��D5_�����Well, that's just it.��4�����yI'm beginning to wonder if I can.��-C�u��Dyj�����Lily.��B����� wLily, he's just a guy I know from work.���C�u@��D�������Yeah, that looked like work.��4�����yLook, you're making a big deal out of--�������� xYou know, the Andy I know is madly in love with Nate,��6C�u��D�Ϡ����is always five minutes early...���������and thinks, I don't know, Club Monaco is couture.�� C�u@��D�������For the last 16 years,��������I've known everything about that Andy.�������� But this person?���������This "glamazon" who skulks around in corners...���C�u��D������with some random hot fashion guy?��,����� �I don't get her.���C�u��D񶠏���Lily.�� ������Have fun in Paris.�� �������You going to Paris?��3C�u��E ������Uh, yeah. It just happened.�� Ϡ����I thought Paris was a big deal for Emily or--�� ,C�u��E"T�����Great. Now you're gonna give me a hard time too?��������)Hey, Andy. Andy!��-C�u@��EC���Andy, what the hell is wrong with you?��/�����tI... I didn't have a choice, okay? I...��3����� �Miranda asked me, and I couldn't say no.������� �I know.��C�u@��EX(�ϡɁThat's your answer for everything lately, "I didn't have a choice."�� ����� bLike this job was forced on you.������� bNate, I get it, okay?��������Like you don't make these decisions yourself.���C�u@��Eo������You're mad because I work late all the time���������and because I missed your birthday party.��5����� XAnd I'm sorry.��Р����mOh, come on. What am I, four?��*C�u@��E�z�����You... You hate Runway and Miranda.�� u����� �And you think fashion is stupid.��ܠ�����You've made that clear.���C�u��E�&�����Andy, I make port wine reductions all day.�� 栮��� +I'm not exactly in the Peace Corps.���C�u@��E��ӡ́You know, I wouldn't care if you were out there pole dancing all night,�� ������ �as long as you did it with a little integrity.��DC�u@��EǙ�����You used to say this was just a job.���������You used to make fun of the Runway girls.�� D������What happened? Now you've become one of them.�� C�u@��E������That's absurd.�������That's okay.�������bThat's fine. Just own up to it.���ԡ΁�And then we can stop pretending like we have anything in common anymore.�� �C�u��F������You don't mean that, do you?��m������No, I do.��C�u��F/�����Well...��n�����Vmaybe this trip is coming at a good time.��򠧡���Maybe we should take a break.�� !C�u��Fd#�����Nate?��,�����(CELL PHONE RINGING)���C�u��F������I'm sorry. Just... one second?���C�u@��F� ����You know, in case you were wondering,���������the person whose calls you always take,��V�����}that's the relationship you're in.�� �C�u��F�'�����I hope you two are very happy together.��*�����o(CELL PHONE CONTINUES RINGING)�� @C�u��F씠����Hello, Miranda.������� �(UP-TEMPO MUSIC PLAYING)�� WC�u��G������♪ In the city�� >����� �♪ Of blinding lights�� 7C�u��G0_�����♪ I'm getting ready�� ������ �♪ To leave the ground��BC�u��Gc5�����♪ Oh, you look so beautiful���C�u��Gx1�����♪ Tonight��C�u��G�Ǡ����♪ In the city�� J����� �♪ Of blinding lights�� �C�u��G�]�����♪ The more you know The less you feel�� ������ �♪ Some pray for, others steal�� �C�u��G�B�ơ��♪ Blessings not just For the ones who kneel��c������♪ Luckily��cC�u��G�ˠ����(UPBEAT MUSIC PLAYING)���������(INDISTINCT CHATTERING)�� �C�u@��H������Pardon. Miranda.���������(SPEAKING IN ITALIAN)��۠���� Maestro. Mmm.��w������How are you? So glad to see you.��C�u@��H.������Thank you for coming.��K������You like the collection?��Ϡ�����Absolutely.��Ϡ���� �I think it's the best in years.������� �This is very important for me.��C�u@��HC������Very, very important.��������I'm very happy for you.���������This is my new Emily.��������Hello. How do you do?��j������I'm good. Pleasure.�� �������Nice to meet you.�� �C�u��H`S�����You love the show?��pC�u��Hz������Miranda. This way!�������M(ALL CLAMORING)���C�u��H�������REPORTER: Miranda. Nigel. Fashion's great gatekeepers.�� ������ �Miranda, what is Runway's position�� �C�u��H�࠵���on French fashion versus American fashion?�� n����� *I've been thinking...��(����� *Oh.��(C�u@��H�w�����You still owe me for Harry Potter.���������Oh, do I?��K����� XOf course you do. Are you working tonight?��NC�u��H�t�����Oh! (CHUCKLES NERVOUSLY)���������No, actually Miranda has a dinner.�������� Great, you're free.���C�u@��Hﲠ����Oh, but there is the problem of le boyfriend.��>������Wait, don't tell me. The boyfriend non plus?�� �C�u@��I (�����Je suis tres, tres desole.�� ��š�� �Oh, you're so full of it. You're not desole at all.��Ѡ�����No, not even a little.��wC�u@��I"ˠ����What time should I pick you up?������� Uh... Yeah.�������� I'll call you.���������(REPORTERS CLAMORING)��C�u��I������Oh.��,������Oh, there you are. (CLEARS THROAT)�� �C�u��I�-�����We need to go over the seating,�� ������uh, chart for the luncheon.�� C�u��I������Okay. Um, yeah, sure.�� u����� �I have it right here.��C�u��I�p�����By all means, move at a glacial pace.�������� @You know how that thrills me.���C�u��J ������Okay.��i������So...��������Ifirst of all, we need to move Snoop Dogg to my table.��mC�u��J6������But your table's full.�������� LStephen isn't coming.���C�u��JL������Oh, Stephen is...����ǡ���So I don't need to fetch Stephen from the airport tomorrow?���C�u��Jg۠����Well, if you speak to him and he decides��3�����xto rethink the divorce, then, yes, fetch away.�� �C�u��J�/�����You're very fetching, so go fetch.�� �C�u��J�𠱡��And then when we get back to New York,���������we need to contact, um...���C�u��J�������Leslie to see what she can do to minimize the press...��5�����kon all this.��C�u��J�堜���Another divorce...��ޠ�����splashed across Page Six.�� 2C�u@��J�Z�����I can just imagine what they're gonna write about me.�� ꠜ��� +"The Dragon Lady,"��ܠ����L"career-obsessed."��!C�u��Kv�����"Snow Queen drives away another Mr. Priestly."�� �������Rupert Murdoch should cut me a check�� �C�u��K4ᠭ���for all the papers I sell for him.�� �����Anyway, I don't...��C�u��KOV�����I don't really care what anybody writes about me.�� �C�u��KdR�����But my... my girls, I just...�� ������ @It's just so unfair to the girls.�� C�u��K~�����It's just...���������another disappointment,��JC�u��K�=�����another letdown, another father... figure...�� Š���� (CHUCKLES) ...gone.�� C�u��K�������Anyway, the point is...�������� W(CLEARS THROAT)��K������The point is... (SIGHS)��2C�u@��K������The point is we really need to figure out�� ?����� �where to place Donatella,��o�����Vbecause she's barely speaking to anyone.�� �C�u��LQ�����ANDREA: I'm so sorry, Miranda.��𠸡�� �If you want me to cancel your evening, I can.��C�u��L,������Don't be ridiculous. Why would we do that?�� +�����wUm, is...�� C�u��LG_�����Is there anything else I can do?��7�����xYour job.���C�u��Li"�����That's all.���C�u��L�Π����(KNOCKING AT DOOR)���C�u��L־�����Hi. I need Miranda's itinerary for tomorrow.��z������Okay. Come on in.��,������All right? Thanks.��,C�u��L�������Who put that together for you?��N����� cThis? Oh, it's just...���������it's just something I threw on.��zC�u��M9�����Turn around.��������(CHUCKLES)���������Let me see. Turn.��������;Mm.���C�u@��M$L�����Incroyable.��>������Yeah?��Š�����It's really just... No, it's...��Š���� �Yeah? Okay, good.������� �No, gorgeous.��C�u��M8<�����Really. I think that my work here is done.��Y�����ROh.���C�u@��MNC�����We're going to celebrate.�������MI'm going to get some champagne.��ܠ���� nOkay.��d�����6What are we toasting?��4C�u@��Ma򠭡��NIGEL: We are toasting, my dear...��ޠ����(GLASS CLINKING)��ޠ����B...to the dream job.��M������The one that a million girls wanted.���C�u��M�[�����Which I got months ago.�������� +I'm not talking about you.�� �C�u��M� �����Mm-hmm.��n������James Holt...��N������Yeah.��N�����(Massimo Corteleoni...���C�u��M�$�����is investing in James's company and taking it global.�� ������ �Mm-hmm.�������� �Bags, shoes,���C�u��M�������fragrances, the works.��Ӡ���� �And James needs a partner.�� �C�u��M�=�����And that partner...�� ������would be me.��pC�u@��NȠ����Does Miranda--��T�����No, no, Miranda knows, because...��T������Oh.��W������Oh, she put me up for it!��W�����5Oh, God, no. Can you imagine?��������(But... But... But you're leaving.�� `C�u@��N"������Mm-hmm.�� ������I can't imagine Runway without you.�� ������ �I know, I know.��Р���� �(BOTH CHUCKLING)��Р����I'm so excited though.��J�����(BOTH LAUGHING)��JC�u@��N=,�á��This is the first time in 18 years I'm going to be able�������Xto call the shots in my own life.��������WOh, my God!��YC�u��NU(�����I'm going to be able to come to Paris,��U������and actually see Paris.���C�u��Nr9�����Well, congratulations.�� @����� �Huh? Oh.������� �Nigel, you deserve it.���C�u��N�?�����You bet your size-six ass. (GUFFAWS)�� ������VFour.��oC�u��N�$�����Really?��d������(GLASSES CLINK)��񠑡���Cheers.��񠘡�� �Cheers to you.��dC�u��N�������To us.���������Let me see that.���������(GIGGLES)�������� @(WOMAN SINGING IN FRENCH)�� TC�u@��N�͠����Okay, I just wanna say that, yes,�� `����� �there are things Miranda does��O�����Wthat I don't agree with, but...���C�u@��N�N�����Come on. You hate her.�� �����NJust, just admit it to me.��?�����NNo.��?����� �She's a... she's a notorious sadist,�� C�u��O������and not... not in a good way.��K������Okay, she's tough, but if Miranda were a man,��TC�u@�O������no one would notice anything about her,��Y������except how great she is at her job.��������(CHUCKLES)���C�u@��O+ �����I'm sorry. I can't... I can't believe this.��4�����yYou're defending her?��𠏡��yYeah.���š���The wide-eyed girl peddling her earnest newspaper stories?��OC�u��OJM�����You, my friend, are crossing over to the dark side.�� C�u��O_������I resent that.��l������You shouldn't. It's sexy.��V����� LSexy?��MC�u��O|�����Really?��*�����oReally.���C�u@��O�������So do you... do you know where we're going?���������'Cause I'm lost.���������Yeah.����ɡÁ �Yeah, don't worry. I know this city like the back of my hand.�� UC�u��O�3�����It's my favorite place in the whole world.�� v����� �You know, Gertrude Stein once said,��4C�u��O�g�����"America is my country, and Paris is my hometown."��U������(ANDREA LAUGHS)��vC�u@��O༠����It's true.��p������What do you do?�������� ~Do you just write stuff like that down��������Iand then file it away to use on us girls?�� �C�u@��Pנ����I'm Christian Thompson. That's my way.���������That's your way. Right.����ġ���I work freelance. I have a lot of free time on my hands.�� �C�u��P"������ANDREA: You know, I never understood�� *����� owhy everyone was so crazy about Paris,�� �C�u��P:�����but...��n�����*it is so beautiful. (GIGGLES)�� C�u��PV������Mm. I...�� T����� �I can't. I'm sorry. I can't.�� C�u��Pn͠����You know, Nate and I just split up�� �����Na couple days ago, and I can't.��CC�u��P������Ooh. I've had too much wine.�� ����� UAnd my hearing, vision... judgment's impaired.��YC�u��P������No, I barely know you. I'm in a strange city.�� �C�u��P�ՠ����I...��頜����am out of excuses.��Y�����EThank God.��C�u��QG������(GROANS)�� C�u��Qz������(GASPS)�������� �(GRUNTS)��nC�u��Q�������Yes.��pC�u��Q�[�����Oh, shoot.��YC�u��Q�w�����(DOOR OPENS)�� ����� bBonjour, madame.��7�����4Uh, what the hell is this?�� =C�u��Q�-�����What does it look like? It's a mock-up.�� ٠���� �Yeah. Of?��?C�u@��Q�a�ġ��CHRISTIAN: Of what American Runway will look like��@������when Jacqueline Follet is the new editor in chief.�� �C�u@�R������Wh-- They're replacing Miranda?���̡ƁUYeah. And she's bringing me in to run all the editorial content.���C�u@��R3x�����You're really surprised?��w������Jacqueline's a lot younger than Miranda.��k�����lShe has a fresher take on things.��C�u@��RO�����Not to mention American Runway's�� �����Rone of the most expensive books in the business.�� ������Jacqueline does the same thing for a lot less money.�� ,C�u��RqƠ����And Irv...��������XIrv's a businessman, you know.�� ,������Miranda will be devastated.���C�u@��R�~�����Her whole life is about Runway.��󠢡��8He can't do that to her.����ʡā 6It's done. Irv's gonna tell Miranda after the party for James.�� MC�u��R������And she has no idea?��������AShe's a big girl. She'll be fine.��oC�u��R�������Shi--��o�����WI have to go.�������� KAndy.���������Andy, it's done.��OC�u��Rב�����Baby, it's done.������� �I'm not your baby.��&C�u��S ������(PHONE RINGING)�� Ġ����Allo.�� Ġ���� Oh! Oh! Thank God you're there.�� `C�u@��SW�����(SIGHS) Excuse me?��a�¡���ANDREA: I need to talk to you right away.�������� �It's about Jacqueline Follet.��C�u��S2H�����Shit! Oh, shit! Shit, shit, shit!���C�u@��S�ɠ����Yes.��������Oh, hello, um, Mr. Ravitz, I'm so sorry�������� Bto bother you. I was wondering--��������*Have you completely lost your mind?���C�u@��S������(WHISPERS) I need to talk to you.���������Do not disturb me again.�� (�����4But, um, it's just for one... Miranda!�� cC�u��S� �����(HORN HONKS)���C�u@��Tn�����Miranda. Miranda. Wait, I need to talk to you.��ޠ����AIrv is making Jacqueline Follet��栰���lthe editor in chief of Runway.���C�u@��Tڠ����Christian Thompson told me he's gonna work for her.��������WAnd Irv is gonna tell you today,��k����� so I thought maybe if I told you,��@C�u��T/f�����that you could fix it.���������Do I smell freesias?��a����� �What?��Ƞ�����No.��`C�u��TDƠ����I... I specifically told them--���������If I see freesias anywhere,���C�u@��T\ ����I will be very disappointed.�� ����� �NIGEL: For 72 years,��۠����Runway has been more than a magazine.�� �C�u@��Tz�����It has been a beacon of elegance and grace.��T�̡Ɓ�Miranda Priestly is the finest possible guardian of that beacon,���C�u@��T���š��setting a standard that inspires people across the globe.��c������Ladies and gentlemen, I give you Miranda Priestly.��jC�u��T�������(ALL APPLAUDING)�� �C�u��U 2�����Thank you, my dear friend.��Ƞ���� �Bonjour. (CHUCKLES)�� �C�u��U#"�����Thank you very much for coming today�� ������ �to help celebrate our dear friend, James Holt.���C�u��U@������(CHEERING)���C�u��U_Z�����But before I talk to you about James��������aand his many accomplishments,���C�u��U|I�����I would like first to share some news with you.���C�u��U�[�����Um... as many of you know,��������@uh, recently Massimo Corteleoni�� C�u@��U��ȡhas agreed to finance the expansion of the James Holt label,��>������transforming the work of this visionary artist...�� C�u��U�}�����into a global brand,���������which is really an exciting enterprise.�� -C�u@��U� �ġ��Runway and James Holt share many things in common,�� X����� �chief among them, a commitment to excellence.���C�u��U�<�����And so...���������it should come as no surprise�� 6�����[that when the time came for James to choose���C�u��V������the new president of James Holt International,�� O����� �he chose from within the Runway family.�� !C�u��V3&�����And it's my great happiness today�� v����� �to announce to you all that that person...�� �C�u��VNC�����is my friend...������� band longtime esteemed colleague...�� <C�u��Veՠ����Jacqueline Follet.��٠�����(ALL APPLAUDING)��-C�u��V������Thank you. Merci.��Ԡ�����(ELECTRONIC MUSIC PLAYING)�� �C�u��V�^�����MIRANDA: (IN DISTANT) And now to the main event...�� 栩��� +our celebration of James Holt.���C�u��Wi�����We at Runway are very proud to have been...��������gWhen the time is right, she'll pay me back.���C�u��W$&�����You sure about that?��B����� mNo.���C�u��W8�����But I hope for the best.��ߠ���� AI have to.���C�u��WM������(PEOPLE CLAMORING)�� �C�u��W�i�����You thought I didn't know.��,�����JI've known what was happening for quite some time.�� BC�u@��W�������It just took me a little while���ǡ��Lto find a suitable alternative for Jacqueline.�� ������And that James Holt job was so absurdly overpaid��&C�u@��W������that, of course, she jumped at it. (CHUCKLES)�� ��ۡՁ @So I just had to tell Irv that Jacqueline was unavailable.���C�u��X(�����The truth is, there is no one that can do what I do,��L������including her.��XC�u@��XO�����Any of the other choices��W������would have found that job impossible,��M����� Mand the magazine would have suffered.��kC�u��X1L�����(SIGHS)���������Especially because of the list.���C�u��XFH�����The list of designers, photographers,�� Ѡ����5editors, writers, models,��`C�u@��X["�͡ǁall of whom were found by me, nurtured by me���������and have promised me they will follow me�� C�u��Xp������whenever and if ever I choose to leave Runway.�� ������(CHUCKLES)��lC�u��X�1�����So he reconsidered.��zC�u��X�ߠ����But I was very, very impressed�� ڠ���� by how intently you tried to warn me.�� zC�u��X���ɡÁI never thought I would say this, Andrea... (CHUCKLES SOFTLY)�� Π���� 2...but I really...��BC�u��XϨ�����I see a great deal of myself in you.���C�u��X�Рá��You can see beyond what people want and what they need,��Ǡ����*and you can choose for yourself.�� BC�u��Yߠ����I don't think I'm like that.�������I--���C�u��Y0������I couldn't do what you did to Nigel, Miranda.��栭���+I couldn't do something like that.��C�u��YD/�����Mm.���������You already did.��!C�u��Yb������To Emily.��Ԡ�����That's not what I--��OC�u@��Yv������No, that was... that was different.���������I didn't have a choice.��l����� xOh, no, you chose. You chose to get ahead.�� �C�u��Y�������You want this life, those choices are necessary.�� 堘��� *But what if...��dC�u��Y�G�����this isn't what I want?�� ����� LI mean, what if I don't want to live the way you live?�� �C�u��Y�Ӡ����Don't be ridiculous, Andrea. Everybody wants this.���C�u��Y�堣���Everybody wants to be us.�� �C�u��Y�C�����(REPORTERS CLAMORING)�� 頣��� L(MID-TEMPO MUSIC PLAYING)�� C�u��Z ����(REPORTERS CLAMORING)��oC�u��Z�젞���(CELL PHONE RINGING)��MC�u��Z�������(MUSIC CONTINUES)�� C�u��[6������I have to be at work in 20 minutes.��+�����JWhat's up?��pC�u��[Q0�����Well, I just...��ޠ���� ?I wanted to say that you were right about everything.�� XC�u��[n@�����That...��Π����6I turned my back on my friends and my family...�� �C�u��[�;�����and everything I believed in, and...��Ԡ����and for what?��k������For shoes... and shirts,�� JC�u��[�������and jackets and belts.��;������Nate.��C�u��[�]�����I'm sorry.��8C�u��[������I-- (CLEARS THROAT)��۠���� I flew up to Boston while you were gone.���C�u��[����I interviewed at the Oak Room.��䠎��� �And?���C�u@��\ �����And you're looking at their new sous-chef.�� ������ �I'm moving up there in a couple weeks.��)�����`That's great. Congratulations.���C�u@��\3������(SIGHS)�������� �I don't know what I'm gonna do��k�����>without those late-night grilled cheeses, but...�� C�u��\Q+�����I'm pretty sure they have bread in Boston.�� ������ �May even have Jarlsberg.���C�u��\t�����We might be able to figure something out.�� ������You think?���C�u��\�������Yeah.���C�u��\�������So, what about you?��U������I mean, what are you gonna do now?��5�����Actually, I, uh...��3C�u��\������I have a job interview today.��Ԡ����7Oh, yeah?��Y�����7Mm-hm.��Y�����@That's what you're wearing?��YC�u��\�2�����Shut up. I like this.��j����� �(PHONE RINGING)��dC�u@��\�8�����Andy, Greg Hill.��,�����Hello.��,������Come on. These clips are excellent.�� 𠭡���This thing on the Janitors' Union,���C�u��]𠪡��that's exactly what we do here.��{�����MMy only question is,��5����� �Runway?���C�u��]&������You were there for less than a year.�������MWhat the hell kind of a blip is that?��YC�u��];Ǡ����Learned a lot.���������In the end, though, I kind of...�� AC�u@��]W&�����screwed it up.�������MI, uh, called over there for a reference,�� o�����left word with some snooty girl.���C�u@��]ld�ˡŁNext thing you know, I got a fax from Miranda Priestly herself,�� 堽��� *saying that of all the assistants she's ever had,�� �C�u��]�������you were, by far, her biggest disappointment.�� d����� �And, if I don't hire you,�� �C�u��]�\�����I am an idiot.��Y������You must have done something right.�� C�u��]�L�����(SLOW INSTRUMENTAL MUSIC PLAYING)�� dC�u��^"������(BEEPING)��J������(PHONE RINGING)��������aMiranda Priestly's office.��YC�u��^:٠����Hey, Emily, it's Andy.��Š���� Don't hang up.�������� GI have a favor to ask you.��C�u@��^P}�����You have a favor to ask of me?��l������Yeah. The thing is...���������I have all these clothes from Paris,���C�u@��^hs�����and I don't have anyplace to wear them,��.�ơ��sso... I was wondering if you could take them off my hands.��C�u@��^�9�����(CLICKS TONGUE) Well, I don't know.��@������It's a huge imposition.�� k�����5And I'll have to get them taken in.��?C�u@��^�򠣡��I mean, they'll drown me.�������� �But I suppose I could help you out.���������I will have Roy pick them up this afternoon.�� �C�u��^�֠����Thanks, Em. I appreciate it.�������� �Good luck.���C�u��^�Q�����You have some very large shoes to fill.�� M�����)I hope you know that.��{C�u��_+������I don't understand why it is so challenging�� ������ �to get my car... when I ask for it.�� �C�u��_������(CHUCKLES)���������Go.���C�u��`K�����(UPBEAT MUSIC PLAYING)�� C�u��a�E�����(MUSIC ENDS)��pC�u��a�ؠ����(UPBEAT INSTRUMENTAL MUSIC PLAYING)��7S�k �t����w�����������+�����淎�������{�����ŷ������A�� ������������z����绔���������z��E��������N����������u�������������V��ڻ����'���������� z������������,��j�������������� �������������*�� �������������O��V����&5���������� �����&5�������}�� �����2����������� 󻕳�^a�����)����ܻ���g������)��E�� ����q�������� 滕��|��������K��޻����Y��������x��t���������������w�����η�������X�� Ȼ��������������J����Ç�������L��I����������j���������������j��*�������� �����j��O�������V�����j����� '�����V�����j��}�� '�����·����1����U�����\�����1��G�������\�����1��l������������������ ���������������*�� ��������������O�� 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