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1
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♪♪♪
2
00:00:18,957 --> 00:00:21,059
I LIKE YOUR PONCHO.
3
00:00:21,059 --> 00:00:24,393
MY DAD GOT ME ONE
IN GUADALAJARA.
4
00:00:24,393 --> 00:00:28,736
(scoffs) MILAN.
DOLCE & GABBANA. FALL.
5
00:00:28,736 --> 00:00:29,737
OH.
6
00:00:29,737 --> 00:00:31,039
BETTY SUAREZ?
7
00:00:31,039 --> 00:00:32,299
HI.
8
00:00:32,299 --> 00:00:33,671
THAT'S ME.
9
00:00:33,671 --> 00:00:36,243
UM, I HAVE A HARD COPY
OF MY RéSUMé
10
00:00:36,243 --> 00:00:37,746
IF YOU NEED IT.
11
00:00:37,746 --> 00:00:39,406
SHOULD I FOLLOW YOU?
12
00:00:39,406 --> 00:00:43,350
ACTUALLY...
THERE'S BEEN A MISTAKE.
13
00:00:43,350 --> 00:00:45,753
A MISTAKE?
14
00:00:45,753 --> 00:00:49,387
ALL THE ENTRY-LEVEL POSITIONS
WE WERE HIRING FOR...
15
00:00:49,387 --> 00:00:51,088
THEY'VE BEEN FILLED.
16
00:00:51,088 --> 00:00:52,619
I'M SORRY.
17
00:00:52,619 --> 00:00:54,161
(chuckles)
18
00:00:56,023 --> 00:00:58,195
UM, SIR?
19
00:00:58,195 --> 00:00:59,765
WHILE YOU GOT ME HERE,
20
00:00:59,765 --> 00:01:02,268
I THOUGHT I COULD TELL YOU
A LITTLE ABOUT MYSELF.
21
00:01:02,268 --> 00:01:04,771
MAGAZINES ARE MY PASSION,
EVER SINCE I WAS A KID,
22
00:01:04,771 --> 00:01:07,573
AND I CAN'T IMAGINE
A MORE AMAZING PLACE
23
00:01:07,573 --> 00:01:09,575
TO START MY CAREER
THAN MEADE PUBLICATIONS.
24
00:01:09,575 --> 00:01:11,578
I KNOW MOST OF YOUR MAGAZINES
INSIDE OUT.
25
00:01:11,578 --> 00:01:13,579
I TRY TO DEVOUR
AS MUCH AS I CAN.
26
00:01:13,579 --> 00:01:15,712
CLEARLY.
27
00:01:15,712 --> 00:01:18,114
ALSO, I'VE LEARNED
SO MUCH THROUGH THEM.
28
00:01:18,114 --> 00:01:20,115
YOU KNOW,
STUFF SO BEYOND MY WORLD,
29
00:01:20,115 --> 00:01:22,347
LIKE--LIKE WHO THE UP-AND-COMERS
ARE ON THE LONDON ART SCENE,
30
00:01:22,347 --> 00:01:24,150
OR--OR WHAT
THE POLITICAL MACHINATIONS
31
00:01:24,150 --> 00:01:25,290
IN DARFUR ARE ALL ABOUT,
32
00:01:25,290 --> 00:01:26,751
OR WHICH BALI RESORT
IS CONSIDERED
33
00:01:26,751 --> 00:01:28,253
THE MOST ROMANTIC
IN THE WORLD.
34
00:01:28,253 --> 00:01:30,254
AND I HAVE TONS OF IDEAS.
35
00:01:30,254 --> 00:01:32,557
I'M ALWAYS JOTTING
STUFF DOWN ON THE SUBWAY.
36
00:01:32,557 --> 00:01:34,228
BUT I'M GETTING
AHEAD OF MYSELF, SIR.
37
00:01:34,228 --> 00:01:37,102
ALL I REALLY WANT
IS A CHANCE...
GOOD-BYE!
38
00:01:37,102 --> 00:01:41,735
IN ANY POSITION OR PUBLICATION--
I CAN TYPE 100 WORDS A MINUTE!
39
00:01:45,270 --> 00:01:49,212
(speaking Spanish)
40
00:01:51,414 --> 00:01:53,718
(gasps) NO!
41
00:01:53,718 --> 00:01:56,479
(crying) NO, NO!
42
00:02:02,186 --> 00:02:03,656
(boy) I HATE TELENOVELAS.
43
00:02:03,656 --> 00:02:06,228
I WANNA WATCH FASHION TV.
44
00:02:06,228 --> 00:02:08,230
JUSTIN, YOU CAN WATCH
FASHION TV LATER
45
00:02:08,230 --> 00:02:10,233
WHEN YOUR AUNT BETTY
IS BABYSITTING, OKAY?
46
00:02:10,233 --> 00:02:11,735
COME HAVE SOME FLAN.
47
00:02:11,735 --> 00:02:14,567
I DON'T WANT FLAN.
I'LL GET FAT.
48
00:02:14,567 --> 00:02:16,068
HONEY, YOU'RE A BOY.
49
00:02:16,068 --> 00:02:18,800
IT DOESN'T MATTER
IF YOU'RE FAT OR NOT.
50
00:02:18,800 --> 00:02:21,704
BETTY, DID YOU ORDER
DAD'S BIRTHDAY CAKE?
51
00:02:21,704 --> 00:02:22,704
OF COURSE.
52
00:02:22,704 --> 00:02:24,175
CHOCOLATE VOLCANO,
53
00:02:24,175 --> 00:02:26,177
SAME ONE I GOT LAST YEAR.
MMM.
54
00:02:26,177 --> 00:02:29,311
SO...
HOW WAS YOUR INTERVIEW?
55
00:02:29,311 --> 00:02:32,713
UM... I THINK
IT WAS REALLY GOOD.
56
00:02:32,713 --> 00:02:34,586
I MEAN,
THEY WERE IMPRESSED.
57
00:02:34,586 --> 00:02:36,187
YOU DIDN'T GET IT.
58
00:02:36,187 --> 00:02:39,760
WELL, THEY SAID THAT THEY HAD
HIRED EVERYONE THEY NEEDED.
59
00:02:39,760 --> 00:02:41,091
I DON'T UNDERSTAND...
60
00:02:41,091 --> 00:02:42,764
YOU'RE SHARP,
YOU'RE PREPARED.
61
00:02:42,764 --> 00:02:44,765
SOMEONE SHOULD HAVE
BEGGED YOU TO WORK FOR THEM
62
00:02:44,765 --> 00:02:46,768
THEY DAY YOU GRADUATED
QUEENS COLLEGE.
63
00:02:46,768 --> 00:02:50,100
BETTY, HAVE YOU THOUGHT ABOUT
EXPLORING OTHER OPTIONS?
64
00:02:50,100 --> 00:02:52,573
HILDA, I AM NOT
GOING TO SELL HerbaLux.
65
00:02:52,573 --> 00:02:55,206
WELL,
I WASN'T SAYING THAT...
66
00:02:55,206 --> 00:02:57,108
NECESSARILY.
67
00:02:57,108 --> 00:02:58,378
DAD.
68
00:02:58,378 --> 00:03:01,140
THIS CAREER
IS BETTY'S DREAM.
69
00:03:01,140 --> 00:03:03,813
OKAY, BUT I HEAR
SOMEBODY ELSE
70
00:03:03,813 --> 00:03:05,586
HAS SOME
PRETTY BIG DREAMS, TOO.
71
00:03:05,586 --> 00:03:09,118
WHAT ARE YOU TALKING ABOUT?
JUSTIN,
TELL YOUR AUNT BETTY
72
00:03:09,118 --> 00:03:11,151
WHAT HER BOYFRIEND
WAS SAYING THE OTHER NIGHT.
73
00:03:11,151 --> 00:03:13,152
WALTER WAS ON HIS CELL PHONE
TALKING TO SOMEONE,
74
00:03:13,152 --> 00:03:16,156
AND HE SAID,
"SHE'S THE ONE."
75
00:03:16,156 --> 00:03:18,258
HE WANTS TO MARRY YOU?
76
00:03:18,258 --> 00:03:20,530
HE DOES?
MM-HMM!
77
00:03:20,530 --> 00:03:22,361
WELL, WOULD YOU DO IT?
78
00:03:22,361 --> 00:03:25,204
WELL, I MEAN--WE HAVEN'T
TALKED ABOUT THAT YET, BUT--
79
00:03:25,204 --> 00:03:28,206
WELL, I THINK
HE'S A CATCH. FLAN?
(knock on door)
80
00:03:28,206 --> 00:03:29,367
THAT'S HIM.
81
00:03:34,372 --> 00:03:36,175
HI, IGNACIO, HILDA.
82
00:03:36,175 --> 00:03:37,376
HI, BETTY.
83
00:03:37,376 --> 00:03:38,847
HEY.
HERE.
84
00:03:38,847 --> 00:03:40,348
OH.
IT'S A RETURN.
85
00:03:40,348 --> 00:03:43,180
THE MUTE DOESN'T WORK,
BUT IT SOUNDS AWESOME.
86
00:03:43,180 --> 00:03:44,682
THANK YOU.
87
00:03:46,884 --> 00:03:48,256
OH.
88
00:03:50,158 --> 00:03:53,260
UH... AHEM.
89
00:03:53,260 --> 00:03:54,632
BETTY, CAN WE TALK?
90
00:03:54,632 --> 00:03:57,564
YES. SURE.
91
00:03:59,336 --> 00:04:01,538
OH, UM, OUTSIDE.
YEAH, OKAY.
92
00:04:12,248 --> 00:04:14,311
CELEBRITY-STUDDED
FUNERAL SERVICES
93
00:04:14,311 --> 00:04:15,882
WERE HELD TODAY
FOR FEY SOMMERS,
94
00:04:15,882 --> 00:04:17,254
THE MUCH LOVED AND HATED
95
00:04:17,254 --> 00:04:20,355
EDITOR IN CHIEF
OF FASHION BIBLE
96
00:04:20,355 --> 00:04:21,788
"MODE" MAGAZINE.
97
00:04:21,788 --> 00:04:24,420
IT WAS THE BITCH SLAP
HEARD 'ROUND THE WORLD
98
00:04:24,420 --> 00:04:26,292
WHEN LONGTIME
99
00:04:26,292 --> 00:04:27,793
"MODE" CREATIVE DIRECTOR
WILHELMINA SLATER
100
00:04:27,793 --> 00:04:29,524
WAS PASSED OVER
FOR THE TOP SPOT
101
00:04:29,524 --> 00:04:33,869
IN FAVOR OF DANIEL MEADE,
THE NOMINALLY EXPERIENCED SON
102
00:04:33,869 --> 00:04:37,332
OF MEADE PUBLICATIONS OWNER
BRADFORD MEADE.
103
00:04:37,332 --> 00:04:40,235
CAN THE NOTORIOUS MANWHORE
104
00:04:40,235 --> 00:04:42,608
TRANSLATE HIS TALENT
AT BEDDING WOMEN
105
00:04:42,608 --> 00:04:45,310
INTO DRESSING THEM?
106
00:05:00,555 --> 00:05:03,226
HOW DO YOU LIKE
YOUR NEW OFFICE?
107
00:05:03,226 --> 00:05:04,528
YOU SCARED ME.
108
00:05:04,528 --> 00:05:07,300
UM, WOULD YOU JUST, UH,
GIVE ME A FEW MINUTES?
109
00:05:07,300 --> 00:05:09,702
THERE'S SOME--SOME THINGS
I NEED TO WRAP UP
110
00:05:09,702 --> 00:05:11,365
BEFORE I LEAVE.
111
00:05:13,706 --> 00:05:16,309
INTERESTING
DECORATING MOTIF.
112
00:05:19,612 --> 00:05:22,745
YOU CAN GET UP.
HE KNOWS YOU'RE THERE.
113
00:05:27,680 --> 00:05:30,523
I'D LIKE TO INTRODUCE YOU
TO MY NEW ASSISTANT...
114
00:05:30,523 --> 00:05:32,284
(clears throat)
115
00:05:32,284 --> 00:05:33,685
CHARMAINE.
116
00:05:33,685 --> 00:05:36,588
I'M SORRY TO INTERRUPT
YOUR... DICTATION,
117
00:05:36,588 --> 00:05:39,862
BUT THIS IS NOT THE WAY
YOU RUN A MAGAZINE.
118
00:05:39,862 --> 00:05:41,764
WHAT?
119
00:05:41,764 --> 00:05:44,336
I'M IN LOVE
WITH SOMEONE ELSE.
120
00:05:44,336 --> 00:05:47,468
BUT...
121
00:05:47,468 --> 00:05:48,569
HOW?
122
00:05:48,569 --> 00:05:50,401
I...
123
00:05:50,401 --> 00:05:52,803
MEAN, I THOUGHT WE...
124
00:05:54,505 --> 00:05:56,447
WELL, WHO IS IT?
125
00:06:01,612 --> 00:06:03,314
GINA GAMBARRO?
126
00:06:03,314 --> 00:06:05,716
I'M SORRY, I...
127
00:06:05,716 --> 00:06:06,716
I...
128
00:06:06,716 --> 00:06:07,987
NO.
129
00:06:07,987 --> 00:06:10,360
YOU DON'T HAVE TO SAY
ANYTHING ELSE.
130
00:06:14,425 --> 00:06:16,326
GOOD LUCK, BETTY,
131
00:06:16,326 --> 00:06:17,668
WITH EVERYTHING.
132
00:06:34,382 --> 00:06:35,915
ARE YOU FEELING
ANY BETTER?
133
00:06:35,915 --> 00:06:38,417
I'M FINE.
134
00:06:38,417 --> 00:06:40,449
(telephone rings)
135
00:06:41,920 --> 00:06:43,792
HELLO?
136
00:06:43,792 --> 00:06:46,725
SOME GUY
FROM MEAT PUBLICATIONS.
137
00:06:46,725 --> 00:06:49,557
MEADE?
138
00:06:49,557 --> 00:06:51,629
THIS IS BETTY SUAREZ.
139
00:06:51,629 --> 00:06:53,961
MM-HMM.
140
00:06:53,961 --> 00:06:56,504
ARE YOU SERIOUS?
141
00:06:56,504 --> 00:07:00,408
YEAH! I--YEAH, OF COURSE
I-I CAN START TOMORROW.
142
00:07:00,408 --> 00:07:03,411
UM, WHAT MAGAZINE
IS THIS FOR? "MODE"?
143
00:07:03,411 --> 00:07:04,742
(mouths word)
144
00:07:06,774 --> 00:07:09,617
YEAH, I'LL BE THERE
FIRST THING IN THE MORNING.
145
00:07:09,617 --> 00:07:10,677
OKAY!
146
00:07:10,677 --> 00:07:12,620
THANK YOU. BYE!
147
00:07:14,451 --> 00:07:16,923
ASSISTANT
TO THE EDITOR IN CHIEF!
148
00:07:16,923 --> 00:07:19,656
I DIDN'T KNOW
YOU WANTED TO WORK FOR "MODE."
149
00:07:19,656 --> 00:07:22,528
WELL, THIS WOULDN'T HAVE BEEN
MY FIRST CHOICE, BUT...
150
00:07:22,528 --> 00:07:26,362
IF I DO GOOD HERE, I CAN GO
ANYWHERE IN THE COMPANY.
151
00:07:26,362 --> 00:07:30,136
WELL, JUST TRY
AND DRESS FASHIONABLY.
152
00:07:30,136 --> 00:07:31,637
DO HAVE ANYTHING?
153
00:07:33,538 --> 00:07:35,100
ACTUALLY, I DO.
154
00:07:42,507 --> 00:07:45,411
OH, MY GOD.
155
00:07:54,659 --> 00:07:57,792
HI. YOU THE "BEFORE"?
HUH?
156
00:07:57,792 --> 00:08:01,565
BEFORE AND AFTER--
THE PHOTO SHOOT.
157
00:08:01,565 --> 00:08:04,798
(slowly) ARE YOU
DELIVERING SOMETHING?
158
00:08:04,798 --> 00:08:06,670
OH, NO! (chuckles) NO.
159
00:08:06,670 --> 00:08:09,033
I-I WORK HERE.
160
00:08:09,033 --> 00:08:10,735
(chuckles) FOR?
161
00:08:10,735 --> 00:08:13,637
FOR THE NEW EDITOR IN CHIEF.
(chuckles)
162
00:08:15,478 --> 00:08:17,711
SO EVERYONE'S
IN THE CONFERENCE ROOM,
163
00:08:17,711 --> 00:08:20,413
AND DANIEL'S ABOUT TO START
HIS FIRST STAFF MEETING.
164
00:08:20,413 --> 00:08:22,415
I'M AMANDA, BY THE WAY.
BETTY.
165
00:08:22,415 --> 00:08:23,716
OKAY, F.Y.I., BETSY,
166
00:08:23,716 --> 00:08:25,718
ASSISTANTS ARE USUALLY HERE
BEFORE THEIR BOSSES.
167
00:08:25,718 --> 00:08:28,492
OH, WELL, I WAS FILLING OUT
PAPERWORK IN H.R.
168
00:08:28,492 --> 00:08:30,492
YEAH, JUST DON'T
LET IT HAPPEN AGAIN.
169
00:08:30,492 --> 00:08:32,755
SO, UH, WHERE DO YOU
COME FROM?
170
00:08:32,755 --> 00:08:34,126
QUEENS.
171
00:08:34,126 --> 00:08:35,798
WHAT JOB DID YOU HAVE?
172
00:08:35,798 --> 00:08:38,600
OH, ACTUALLY,
APART FROM INTERNSHIPS
173
00:08:38,600 --> 00:08:40,602
AND PART-TIME JOBS
TO PAY FOR SCHOOL,
174
00:08:40,602 --> 00:08:42,605
THIS IS MY FIRST REAL JOB.
175
00:08:42,605 --> 00:08:44,466
(laughs) THAT'S FUNNY.
176
00:08:44,466 --> 00:08:47,539
I WAS TOLD I DIDN'T HAVE ENOUGH
EXPERIENCE FOR THE POSITION.
177
00:08:47,539 --> 00:08:49,211
IT'S OVER THERE.
178
00:08:51,472 --> 00:08:54,015
YOU ARE AN ATTRACTIVE,
INTELLIGENT,
179
00:08:54,015 --> 00:08:57,019
CONFIDENT BUSINESSWOMAN.
180
00:08:57,019 --> 00:08:59,620
SO I GOTTA CONFESS--I'M PROBABLY
NOT GONNA REMEMBER
181
00:08:59,620 --> 00:09:01,623
EVERYONE'S NAMES,
AND I'M REALLY, UH...
182
00:09:04,686 --> 00:09:06,187
(man) WHAT'S THAT?
183
00:09:06,187 --> 00:09:07,729
(laughter)
184
00:09:07,729 --> 00:09:09,730
ARE YOU OKAY?
185
00:09:09,730 --> 00:09:11,993
I'M OKAY. I'M FINE.
I'M SO SORRY.
186
00:09:11,993 --> 00:09:14,695
I'M--I'M SORRY.
187
00:09:14,695 --> 00:09:17,738
ANYWAY, UH,
I WISH I WASN'T--
188
00:09:17,738 --> 00:09:19,200
I'M SO SORRY.
CAN I JUST GET IN HERE?
189
00:09:19,200 --> 00:09:22,503
UH, I WISH I WASN'T
COMING IN AS A NEW GUY
190
00:09:22,503 --> 00:09:24,544
UNDER SUCH
TERRIBLE CIRCUMSTANCES.
191
00:09:24,544 --> 00:09:26,907
I REALIZE
I HAVE SOME AWFUL BIG...
192
00:09:26,907 --> 00:09:29,609
TEETH--SHOES TO FILL,
193
00:09:29,609 --> 00:09:32,481
BUT I CAN'T TELL YOU HOW EXCITED
I AM TO BE WORKING WITH
194
00:09:32,481 --> 00:09:35,914
SUCH AN AMAZINGLY
TALENTED AND DEDICATED STAFF.
195
00:09:35,914 --> 00:09:37,917
NOW I'D LIKE
TO TAKE THE MOMENT
196
00:09:37,917 --> 00:09:41,561
TO TALK A LITTLE ABOUT
SOME OF THE IDEAS--
SO SORRY I'M LATE.
197
00:09:41,561 --> 00:09:43,022
OH, YOU BEGAN WITHOUT ME.
198
00:09:43,022 --> 00:09:45,565
SORRY, WILHELMINA,
I WAITED--
SHH!
199
00:09:45,565 --> 00:09:47,626
MARC... GIFT.
200
00:09:50,568 --> 00:09:51,730
THANK YOU.
201
00:09:51,730 --> 00:09:53,932
AS I WAS SAYING,
I REALLY WANNA--
202
00:09:53,932 --> 00:09:56,274
WELL, AREN'T YOU GONNA
OPEN IT?
203
00:10:00,778 --> 00:10:03,041
SWAROVSKI CRYSTAL,
204
00:10:03,041 --> 00:10:05,513
TO COMMEMORATE
YOUR FIRST DAY.
205
00:10:05,513 --> 00:10:06,914
THANK YOU.
206
00:10:06,914 --> 00:10:09,547
BUT IT IS "DANIEL,"
NOT "DANNY."
207
00:10:09,547 --> 00:10:10,889
WHAT?
208
00:10:10,889 --> 00:10:12,720
I'M HELLACIOUSLY UPSET,
MARC.
209
00:10:12,720 --> 00:10:14,121
OH, MY GOD,
I AM SO SORRY.
210
00:10:14,121 --> 00:10:15,923
SHH! PURGE THIS
FROM MEMORY, PLEASE.
211
00:10:15,923 --> 00:10:17,625
AS I WAS SAYING,
212
00:10:17,625 --> 00:10:19,626
IT'S A PARTICULARLY
EXCITING TIME FOR ME BECAUSE--
213
00:10:19,626 --> 00:10:22,799
I THINK WE NEED TO DISCUSS
THE FABIA COSMETICS SUPPLEMENT.
214
00:10:22,799 --> 00:10:24,562
FABIA COSMETICS?
215
00:10:24,562 --> 00:10:26,803
THE BIGGEST AD BUY
OF THE YEAR,
216
00:10:26,803 --> 00:10:28,936
AND THE ONLY PAID LAYOUT
EDITORIAL EVER WORKS ON.
217
00:10:28,936 --> 00:10:32,068
WELL, I'M SURE FABIA WILL LOVE
WHATEVER WE COME UP WITH, RIGHT?
218
00:10:32,068 --> 00:10:33,870
DANIEL,
YOU--YOU DON'T UNDERSTAND.
219
00:10:33,870 --> 00:10:35,812
GIVEN
THE NEW CIRCUMSTANCES,
220
00:10:35,812 --> 00:10:37,813
FABIA NEEDS TO SIGN OFF
ON THE SPREAD
221
00:10:37,813 --> 00:10:39,576
BEFORE WE GO TO PRINT.
222
00:10:39,576 --> 00:10:42,948
OBVIOUSLY, WE'RE ALL HERE
TO HELP YOU SUCCEED,
223
00:10:42,948 --> 00:10:45,682
AND WE'VE GOT
PLENTY OF IDEAS.
224
00:10:45,682 --> 00:10:48,584
SO I THINK WE ALL NEED
TO GET BACK TO WORK
225
00:10:48,584 --> 00:10:50,086
TO MAKE SURE THAT THIS--
226
00:10:50,086 --> 00:10:52,557
YOUR VERY FIRST ISSUE WITH
YOUR NAME ON THE MASTHEAD--
227
00:10:52,557 --> 00:10:53,688
SPARKLES.
228
00:10:53,688 --> 00:10:56,192
OKAY, EVERYONE,
LET'S NOT DILLYDALLY.
229
00:10:56,192 --> 00:10:59,193
OUR EDITOR NEEDS US.
230
00:10:59,193 --> 00:11:00,836
KILLER PONCHO.
231
00:11:00,836 --> 00:11:01,836
THANKS!
232
00:11:09,874 --> 00:11:13,207
MR. MEADE?
233
00:11:13,207 --> 00:11:15,710
EXCUSE ME, UM, MR. MEADE?
234
00:11:15,710 --> 00:11:16,811
HI.
235
00:11:16,811 --> 00:11:19,813
UM, I JUST WANTED TO COME
AND INTRODUCE MYSELF PERSONALLY.
236
00:11:19,813 --> 00:11:23,017
I'M BETTY SUAREZ.
IT'S A-A PLEASURE TO MEET YOU.
237
00:11:23,017 --> 00:11:26,120
HI, BETTY. UM, UM...
238
00:11:26,120 --> 00:11:27,961
WHO DO YOU WORK FOR?
239
00:11:27,961 --> 00:11:30,364
WELL, UM, I WORK FOR YOU.
240
00:11:30,364 --> 00:11:32,024
I'M YOUR NEW ASSISTANT.
241
00:11:33,697 --> 00:11:36,700
DID YOU GET THE CREASE
UNDER THE HAIRLINE?
242
00:11:36,700 --> 00:11:37,971
YES, WILLIE.
243
00:11:37,971 --> 00:11:39,732
(sighs) 20 YEARS, MARC.
244
00:11:39,732 --> 00:11:42,706
NO ONE HAS DONE MORE,
WORKED HARDER...
245
00:11:42,706 --> 00:11:44,937
I HAVE BLED
FOR THIS MAGAZINE,
246
00:11:44,937 --> 00:11:46,778
HELPED MAKE IT
INTO THE ICON IT IS TODAY,
247
00:11:46,778 --> 00:11:50,212
AND THAT NASTY,
NEPOTISTIC SON OF A BITCH
248
00:11:50,212 --> 00:11:51,713
GIVES MY JOB TO HIS...
249
00:11:51,713 --> 00:11:53,085
HIS SON.
250
00:11:53,085 --> 00:11:55,817
WHO'S A SELF-ABSORBED,
LOTHARIO PUNK
251
00:11:55,817 --> 00:11:58,620
WHO KNOWS NOTHING
ABOUT FASHION!
252
00:11:58,620 --> 00:11:59,652
(sighs)
253
00:11:59,652 --> 00:12:01,153
TELL ME THE TRUTH--
254
00:12:01,153 --> 00:12:03,695
IS IT BECAUSE
I'M GETTING OLD?
255
00:12:03,695 --> 00:12:06,628
ABSOLUTELY NOT. UGH!
256
00:12:06,628 --> 00:12:08,659
THOUGH YOU COULD DO
WITH A TAD BIT MORE
257
00:12:08,659 --> 00:12:10,662
BETWEEN THE BROWS.
258
00:12:10,662 --> 00:12:12,234
SO WHAT ARE YOU GONNA DO?
259
00:12:12,234 --> 00:12:14,164
JUST WAIT AND SEE.
260
00:12:14,164 --> 00:12:16,738
WELL, HE'S WELL ON HIS WAY
TO FALLING FLAT ON HIS FACE.
261
00:12:16,738 --> 00:12:19,309
I MEAN, CAN YOU BELIEVE
THAT ASSISTANT?
262
00:12:19,309 --> 00:12:22,712
THIS IS "MODE,"
NOT "DOG FANCY."
263
00:12:22,712 --> 00:12:24,715
DONE.
264
00:12:26,746 --> 00:12:30,150
WHAT DO YOU WANT ME
TO DO WITH THE, UH... LEFTOVER?
265
00:12:30,150 --> 00:12:31,652
ALL YOURS.
266
00:12:31,652 --> 00:12:32,653
(mouths words)
267
00:12:32,653 --> 00:12:34,153
(cell phone rings)
268
00:12:34,153 --> 00:12:35,686
(ring)
269
00:12:35,686 --> 00:12:36,657
(ring)
270
00:12:36,657 --> 00:12:38,227
GIVE ME A MOMENT, MARC.
271
00:12:38,227 --> 00:12:40,429
(ring)
272
00:12:40,429 --> 00:12:42,662
HOW ARE YOU RECOVERING,
DARLING?
273
00:12:42,662 --> 00:12:45,695
WELL, I'M SURE
YOU'LL FEEL BETTER
274
00:12:45,695 --> 00:12:50,440
ONCE, UH, EVERYTHING HERE
STARTS COMING TO A BOIL.
275
00:12:50,440 --> 00:12:52,772
MM-HMM. (laughs)
276
00:12:59,678 --> 00:13:00,909
HERE.
277
00:13:00,909 --> 00:13:02,410
OH, THANK YOU.
278
00:13:02,410 --> 00:13:03,913
WHAT ARE YOU DOING?
279
00:13:03,913 --> 00:13:06,855
UM, I'M JUST GATHERING
INFORMATION ON FABIA FOR DANIEL.
280
00:13:06,855 --> 00:13:09,687
UGH, SHE IS
SO FABULOUSLY DOUCHEY.
281
00:13:09,687 --> 00:13:11,690
WHO'S HE IN WITH?
282
00:13:11,690 --> 00:13:14,923
OH, UM, PHILLIPPE MICHEL.
HE'S A PHOTOGRAPHER.
283
00:13:14,923 --> 00:13:16,924
OH. HE'S DOING
THE SUPPLEMENT, ISN'T HE?
284
00:13:16,924 --> 00:13:18,096
MM-HMM.
285
00:13:18,096 --> 00:13:20,097
OH, HE'S AMAZING.
HE'S SHOT, LIKE, EVERYTHING.
286
00:13:20,097 --> 00:13:22,100
YEAH, I THINK--
YOU KNOW, IT LOOKS LIKE
287
00:13:22,100 --> 00:13:24,772
THEY'RE REALLY GOOD FRIENDS.
OH, WELL,
THERE HAD BEEN SOME DRAMA.
288
00:13:24,772 --> 00:13:26,774
DANIEL HOOKED UP WITH
PHILLIPPE'S EX-GIRLFRIEND
289
00:13:26,774 --> 00:13:28,275
A COUPLE OF YEARS AGO.
290
00:13:28,275 --> 00:13:30,837
BUT THEY'RE FINE NOW.
291
00:13:30,837 --> 00:13:33,811
YEAH, WE WENT OUT
FOR, LIKE, A WEEK.
292
00:13:33,811 --> 00:13:35,812
AND THEY DON'T CALL HIM
"THE TRIPOD"
293
00:13:35,812 --> 00:13:37,815
BECAUSE HE'S A PHOTOGRAPHER,
IF YOU CATCH MY DRIFT.
294
00:13:37,815 --> 00:13:38,985
MM-HMM.
295
00:13:38,985 --> 00:13:40,486
THIS IS CRAP.
296
00:13:40,486 --> 00:13:43,090
(groans)
297
00:13:43,090 --> 00:13:44,750
NO.
298
00:13:44,750 --> 00:13:46,123
NO.
299
00:13:46,123 --> 00:13:48,294
TOO DOWN, TOO OUT.
300
00:13:48,294 --> 00:13:49,995
CAN'T GO THERE.
301
00:13:49,995 --> 00:13:51,727
ALL THIS IS TERRIBLE.
302
00:13:51,727 --> 00:13:53,229
THAT'S WHAT I THOUGHT.
303
00:13:53,229 --> 00:13:55,230
PHILLIPPE, CAN I
TRUST YOU WITH SOMETHING?
304
00:13:55,230 --> 00:13:56,732
OF COURSE, DANIEL.
305
00:13:56,732 --> 00:13:58,804
YOU KNOW YOU'RE LIKE
A BROTHER TO ME.
306
00:13:58,804 --> 00:14:02,207
I DON'T THINK ANYONE WANTS
ME HERE, ESPECIALLY WILHELMINA.
WELL, THAT'S NO SECRET.
307
00:14:02,207 --> 00:14:05,140
I THINK SHE'S TRYING TO TAKE ME
IN THE WRONG DIRECTION
308
00:14:05,140 --> 00:14:06,841
WITH THIS FABIA LAYOUT.
309
00:14:06,841 --> 00:14:08,443
DO YOU HAVE ANY IDEAS?
310
00:14:08,443 --> 00:14:10,315
LIKE, A MILLION,
311
00:14:10,315 --> 00:14:12,246
BUT KEEP THINGS
ON THE Q.T.
312
00:14:12,246 --> 00:14:14,750
MOST OF THESE PEOPLE
ARE STILL LOYAL TO WILHELMINA,
313
00:14:14,750 --> 00:14:16,981
AND YOU DON'T WANT THEM
MUCKING THINGS UP.
314
00:14:16,981 --> 00:14:18,884
(knock on door)
315
00:14:18,884 --> 00:14:22,856
UM, SORRY TO INTERRUPT,
BUT CAN I GET YOU LUNCH?
316
00:14:22,856 --> 00:14:25,889
NO, NO,
BUT YOU GO AHEAD. THANKS.
317
00:14:25,889 --> 00:14:29,092
HI, I'M A REALLY BIG FAN
OF YOURS.
318
00:14:29,092 --> 00:14:32,336
THAT TRAVEL LAYOUT YOU DID
WITH THE TIKI TORCHES,
319
00:14:32,336 --> 00:14:35,840
WOW, THAT WAS--
THAT WAS REALLY GORGEOUS.
320
00:14:35,840 --> 00:14:38,972
(chuckles) THANK YOU.
321
00:14:38,972 --> 00:14:40,974
YEAH,
IT KIND OF REMINDED ME
322
00:14:40,974 --> 00:14:43,976
OF THIS HIROAKI SPREAD
I'D SEEN A COUPLE OF YEARS AGO.
323
00:14:46,809 --> 00:14:47,811
(clears throat)
324
00:14:47,811 --> 00:14:49,812
HEY, LISTEN,
I DON'T KNOW WHO YOU ARE
325
00:14:49,812 --> 00:14:51,313
OR WHAT YOU'RE IMPLYING,
326
00:14:51,313 --> 00:14:54,417
BUT, UM, I WOULD NEVER USE
ANOTHER PHOTOGRAPHER'S IDEA.
327
00:14:54,417 --> 00:14:55,788
OH, NO, NO!
328
00:14:55,788 --> 00:14:58,091
NO, NO, I WASN'T--
I WASN'T SAYING... UM...
329
00:15:00,993 --> 00:15:03,125
I-I SHOULD GO.
330
00:15:07,830 --> 00:15:10,172
WHAT'S THE STORY HERE?
331
00:15:10,172 --> 00:15:12,975
I KNOW THE TYPE OF WOMEN
YOU HIRE.
332
00:15:12,975 --> 00:15:14,405
MY FATHER MADE ME.
333
00:15:14,405 --> 00:15:16,508
YOU'RE KIDDING ME?
334
00:15:16,508 --> 00:15:18,440
LOOK,
SHE APPEARS TO BE GOOD,
335
00:15:18,440 --> 00:15:19,441
CAPABLE--
336
00:15:19,441 --> 00:15:20,511
FUGLY!
337
00:15:20,511 --> 00:15:22,013
LISTEN TO ME,
338
00:15:22,013 --> 00:15:24,546
YOU ARE THE EDITOR IN CHIEF
OF "MODE" MAGAZINE.
339
00:15:24,546 --> 00:15:26,447
THIS BUSINESS IS ALL IMAGE.
340
00:15:26,447 --> 00:15:28,990
IS THAT WHAT YOU WANT
REPRESENTING YOU?
341
00:15:28,990 --> 00:15:31,351
PAPARAZZI TAKING YOUR PICTURES,
AND SHE'S STANDING BEHIND?
342
00:15:31,351 --> 00:15:33,094
WELL, I CAN'T FIRE HER,
PHILLIPPE.
343
00:15:33,094 --> 00:15:35,826
WELL...
344
00:15:35,826 --> 00:15:38,828
WHAT IF SHE QUITS?
AND HOW DO I GET HER
TO DO THAT?
345
00:15:38,828 --> 00:15:40,301
YOU BEAT HER DOWN...
346
00:15:42,562 --> 00:15:44,234
TO A PULP.
347
00:15:55,274 --> 00:15:56,846
(The Frank Popp Ensemble's
348
00:15:56,846 --> 00:16:00,149
"Hips Teens Don't Wear
Blue Jeans" playing)
349
00:16:00,149 --> 00:16:03,221
♪ EVERYBODY KNOWS US ♪
350
00:16:03,221 --> 00:16:06,985
♪ WE'RE ALWAYS
WHERE IT'S AT ♪
351
00:16:06,985 --> 00:16:10,259
♪ EVERYONE MEETS US ♪
352
00:16:10,259 --> 00:16:14,232
♪ AND WANTS
TO JOIN OUR GANG ♪
353
00:16:14,232 --> 00:16:17,296
♪ WE KNOW HOW
TO SWING OUR THING ♪
354
00:16:17,296 --> 00:16:19,898
HEY, YOU.
355
00:16:19,898 --> 00:16:21,198
BETTY, RIGHT?
356
00:16:21,198 --> 00:16:22,900
DANIEL MEADE'S
NEW ASSISTANT?
357
00:16:22,900 --> 00:16:24,903
YEAH.
HOW DID YOU KNOW THAT?
358
00:16:24,903 --> 00:16:26,945
OH, EVERYBODY KNOWS
EVERYTHING AROUND HERE.
359
00:16:26,945 --> 00:16:29,246
I'M CHRISTINA.
I WORK IN THE CLOSET.
360
00:16:29,246 --> 00:16:30,879
THE CLOSET? WHAT--
361
00:16:30,879 --> 00:16:32,880
MM-HMM, WHERE
ALL THE CLOTHES ARE KEPT.
362
00:16:32,880 --> 00:16:35,352
I ACT AS AN IN-HOUSE SEAMSTRESS,
SORT OF TRACK OF THINGS.
363
00:16:35,352 --> 00:16:37,355
SOMETIMES,
THEY EVEN LET ME KEEP
364
00:16:37,355 --> 00:16:39,356
SOME OF THE CRAPPY STUFF
FROM LAST SEASON,
365
00:16:39,356 --> 00:16:41,359
BUT, YOU KNOW,
I HAVE TO IMPROVISE
366
00:16:41,359 --> 00:16:43,360
'CAUSE EVERYTHING
IS A SIZE ZERO!
367
00:16:43,360 --> 00:16:44,522
VOILà.
NICE.
368
00:16:44,522 --> 00:16:46,222
ANYWAY, WELL, I LIKE IT.
369
00:16:46,222 --> 00:16:49,125
MOSTLY 'CAUSE I'M BY MYSELF,
AWAY FROM ALL THE CHIC-EES.
370
00:16:49,125 --> 00:16:50,366
THE CHIC-EES?
371
00:16:50,366 --> 00:16:52,428
YEAH, THE BITCHES
THAT WORK AT "MODE."
OH.
372
00:16:52,428 --> 00:16:54,671
HEY, GIRLS!
373
00:16:54,671 --> 00:16:58,033
ZELDA, NANCY,
THIS IS BETTY.
OH, HI!
374
00:16:58,033 --> 00:16:59,336
HI!
OH, SO YOU'RE BETTY!
375
00:16:59,336 --> 00:17:01,336
NICE TO MEET YOU.
NICE TO MEET YOU, TOO.
376
00:17:01,336 --> 00:17:04,109
IT'S THE BIZARRO VERSION
OF "SEX AND THE CITY."
377
00:17:04,109 --> 00:17:05,942
STOP IT, I'M GAGGING!
378
00:17:17,553 --> 00:17:20,295
FUNNY, YOU LOOK LIKE
ANY OLD SCHLUB SITTING HERE,
379
00:17:20,295 --> 00:17:23,428
FEEDING
THESE STUPID PIGEONS.
380
00:17:23,428 --> 00:17:26,361
I DOUBT IF ANY OLD SCHLUB
WOULD BE FEEDING THEM
381
00:17:26,361 --> 00:17:28,363
ARTISANAL PAIN DE MIE
THEY MADE THEMSELVES.
382
00:17:28,363 --> 00:17:30,134
THERE'S NOTHING
TO WORRY ABOUT.
383
00:17:30,134 --> 00:17:31,536
SHE'S GONE.
384
00:17:31,536 --> 00:17:34,409
WEREN'T YOU SITTING FRONT ROW
AT THE FUNERAL?
385
00:17:34,409 --> 00:17:36,109
CLOSED CASKET.
386
00:17:38,041 --> 00:17:40,243
DOUBLE... TRIPLE-CHECK.
387
00:17:40,243 --> 00:17:42,646
THE THINGS
FEY SOMMERS KNEW ABOUT ME,
388
00:17:42,646 --> 00:17:44,979
ABOUT THE COMPANY...
389
00:17:44,979 --> 00:17:46,450
I'M ON IT.
390
00:17:48,322 --> 00:17:50,354
HI, BETTY. THERE'S A PROBLEM
WITH MY LUNCH.
391
00:17:50,354 --> 00:17:52,226
(Betty) OKAY.
392
00:17:52,226 --> 00:17:56,359
I LOVE COLE SLAW.
I HATE CABBAGE.
393
00:17:56,359 --> 00:17:58,531
BUT COLE SLAW IS...
394
00:17:58,531 --> 00:18:00,534
NO, NO, NO.
NO, I KNOW. I JUST--
395
00:18:00,534 --> 00:18:03,135
I-I LIKE THE--THE TART,
TANGY DRESSING.
396
00:18:03,135 --> 00:18:05,067
CAN YOU DO SOMETHING
ABOUT IT...
397
00:18:05,067 --> 00:18:07,069
BEFORE IT GETS
TO ROOM TEMPERATURE?
398
00:18:07,069 --> 00:18:10,073
(Donna Summer's "She Works Hard
for the Money" playing)
399
00:18:11,673 --> 00:18:15,248
♪ SHE WORKS HARD
FOR THE MONEY ♪
400
00:18:15,248 --> 00:18:18,510
♪ SO HARD FOR IT, HONEY ♪
401
00:18:18,510 --> 00:18:20,511
♪ SHE WORKS HARD
FOR THE MONEY ♪
402
00:18:20,511 --> 00:18:24,455
♪ SO YOU BETTER
TREAT HER RIGHT ♪
403
00:18:24,455 --> 00:18:26,357
HELLO?
404
00:18:26,357 --> 00:18:28,059
HI, DANIEL.
405
00:18:29,391 --> 00:18:32,624
♪ SO HARD FOR IT, HONEY ♪
406
00:18:32,624 --> 00:18:34,625
♪ SHE WORKS HARD
FOR THE MONEY ♪
407
00:18:34,625 --> 00:18:38,500
♪ SO YOU BETTER
TREAT HER RIGHT ♪
408
00:18:40,500 --> 00:18:43,403
♪ ONETTA THERE
IN THE CORNER STANDS ♪
409
00:18:43,403 --> 00:18:46,737
♪ AND SHE WONDERS
WHERE SHE IS ♪
410
00:18:46,737 --> 00:18:49,210
♪ AND IT'S STRANGE TO HER ♪
411
00:18:49,210 --> 00:18:54,114
♪ SOME PEOPLE
SEEM TO HAVE EVERYTHING ♪
412
00:18:54,114 --> 00:18:55,586
(cell phone rings)
413
00:18:55,586 --> 00:18:56,646
HI.
414
00:18:56,646 --> 00:18:59,118
BETTY, WHERE ARE YOU?
415
00:18:59,118 --> 00:19:00,750
I'M STILL WORKING.
416
00:19:00,750 --> 00:19:02,491
YOU FORGOT, DIDN'T YOU?
417
00:19:02,491 --> 00:19:06,026
OH, MY GOD,
DAD'S BIRTHDAY.
418
00:19:06,026 --> 00:19:07,656
YEAH, I WAS BUSY.
419
00:19:14,133 --> 00:19:17,636
LOOK, I GOTTA GO, OKAY?
I'LL GET HOME AS SOON AS I CAN.
420
00:19:20,809 --> 00:19:24,772
UM, YEAH, THE, UH...
THE RED TURKEY IS ON THE MOVE.
421
00:19:24,772 --> 00:19:26,244
Hold on...
422
00:19:26,244 --> 00:19:27,546
IT'S WORK STUFF.
423
00:19:27,546 --> 00:19:30,778
WILL YA SLEEP OVER
ANOTHER NIGHT?
424
00:19:30,778 --> 00:19:32,780
SURE.
425
00:19:32,780 --> 00:19:36,153
SO, UH, WHEN'S
THIS POSITION GONNA OPEN?
426
00:19:38,385 --> 00:19:41,328
OH, HOPEFULLY,
VERY, VERY SOON.
427
00:19:41,328 --> 00:19:43,330
OH, OKAY.
428
00:19:43,330 --> 00:19:46,134
WELL, UH, GOOD NIGHT...
429
00:19:46,134 --> 00:19:48,236
BOSS.
430
00:19:50,136 --> 00:19:52,839
BYE!
431
00:19:54,771 --> 00:19:56,073
HEY.
432
00:19:56,073 --> 00:19:59,476
HI. DO YOU--DO YOU NEED
ANYTHING ELSE?
433
00:19:59,476 --> 00:20:01,478
WHY DON'T YOU STICK AROUND
FOR A LITTLE BIT,
434
00:20:01,478 --> 00:20:03,579
MAKE SURE
EVERYTHING'S OKAY?
435
00:20:05,751 --> 00:20:06,752
YEAH.
436
00:20:06,752 --> 00:20:09,556
OKAY, NO--NO PROBLEM.
437
00:20:20,596 --> 00:20:22,567
PERFECT TIMING.
438
00:20:33,808 --> 00:20:36,211
(Gina laughs)
439
00:20:36,211 --> 00:20:39,284
OH, WALTER!
YOU'RE SUCH A BIG BOY.
440
00:20:39,284 --> 00:20:41,516
MMM. (laughs)
441
00:20:56,760 --> 00:20:58,662
HE'S SLEEPING.
442
00:20:58,662 --> 00:21:02,306
HILDA, I KNOW...
DO YOU REALIZE THIS IS
THE FIRST TIME SINCE MOM DIED
443
00:21:02,306 --> 00:21:04,667
THAT WE HAVEN'T ALL BEEN
TOGETHER ON HIS BIRTHDAY?
444
00:21:04,667 --> 00:21:08,412
YES, I REALIZE THAT,
AND I AM SORRY,
445
00:21:08,412 --> 00:21:11,744
BUT I WAS WORKING--
IT'S FINE, BETTY.
446
00:21:11,744 --> 00:21:14,748
I JUST HOPE
IT'S ALL WORTH IT.
447
00:21:19,451 --> 00:21:21,624
WE SAVED YOU
A PIECE OF CAKE.
448
00:21:21,624 --> 00:21:23,855
IT'S IN THE FRIDGE.
449
00:22:06,296 --> 00:22:10,500
♪♪♪
450
00:22:11,731 --> 00:22:16,375
OH, THIS PHOTO SHOOT
IS GONNA BE ABSOLUTELY SICK.
451
00:22:16,375 --> 00:22:19,209
BEST SUPPLEMENT WE'VE EVER DONE
FOR FABIA BY FAR.
452
00:22:21,740 --> 00:22:23,913
UH-HUH.
453
00:22:25,845 --> 00:22:28,548
OH, YEAH, I'M--I'M ON MY WAY
TO SET AS WE SPEAK.
454
00:22:28,548 --> 00:22:29,648
UH...
455
00:22:29,648 --> 00:22:30,648
HELLO?
456
00:22:30,648 --> 00:22:31,820
OH.
457
00:22:33,551 --> 00:22:34,593
(sighs)
458
00:22:34,593 --> 00:22:37,395
IT'S A REALLY
EXCITING DAY, HUH?
459
00:22:37,395 --> 00:22:40,358
I MEAN,
WITH THE PHOTO SHOOT.
460
00:22:40,358 --> 00:22:43,362
HEY, DANIEL, I KNOW YOU'RE
REALLY OVERWHELMED RIGHT NOW,
461
00:22:43,362 --> 00:22:44,663
BUT I WAS WONDERING,
462
00:22:44,663 --> 00:22:47,665
THERE WAS SOMETHING
THAT I JUST...
463
00:22:50,567 --> 00:22:51,669
DANIEL,
464
00:22:51,669 --> 00:22:54,672
YOU KNOW, I WAS WONDERING
IF YOU HAD A QUICK MOMENT--
465
00:22:54,672 --> 00:22:57,744
DO I LOOK LIKE
I HAVE A "QUICK MOMENT"?
NO.
466
00:22:57,744 --> 00:22:58,915
SO SORRY.
467
00:22:58,915 --> 00:23:01,419
DAMN IT!
THEY FORGOT ONE OF THE OUTFITS.
468
00:23:01,419 --> 00:23:04,421
LOOK, GO UP TO THE CLOSET
AND BRING IT TO SET.
469
00:23:04,421 --> 00:23:06,252
PLEASE?
470
00:23:16,833 --> 00:23:20,267
FEEL THE FABRIC
ON THAT THING.
471
00:23:20,267 --> 00:23:21,968
IT'S KIND OF ROUGH.
472
00:23:21,968 --> 00:23:23,670
THAT'S BECAUSE IT'S BURLAP.
473
00:23:23,670 --> 00:23:25,300
BASICALLY,
YOU'RE TALKING $7,000
474
00:23:25,300 --> 00:23:27,002
FOR A DESIGNER POTATO SACK.
475
00:23:27,002 --> 00:23:29,005
I CAN'T BELIEVE
PEOPLE ACTUALLY BUY THIS STUFF.
476
00:23:29,005 --> 00:23:31,007
I CAN'T BELIEVE
THEY WEAR IT.
477
00:23:31,007 --> 00:23:33,009
AND USUALLY JUST ONCE
BEFORE THEY'LL CHUCK IT
478
00:23:33,009 --> 00:23:35,009
TO MAKE ROOM
FOR THE NEXT SEASON.
479
00:23:35,009 --> 00:23:38,683
BUT THAT'S FASHION,
AND I'VE GOT TO SAY, I LOVE IT.
480
00:23:38,683 --> 00:23:39,815
(laughs)
481
00:23:39,815 --> 00:23:42,657
OH, YOU'RE NOT TOO MUCH
INTO IT, ARE YOU?
482
00:23:42,657 --> 00:23:45,519
UM, NO. (laughs)
483
00:23:45,519 --> 00:23:48,393
NOT REALLY.
484
00:23:48,393 --> 00:23:50,565
SO HOW'S IT GOING?
485
00:23:50,565 --> 00:23:52,896
UM... (chuckles)
486
00:23:52,896 --> 00:23:55,769
BRUTAL, HUH?
487
00:23:58,031 --> 00:24:02,336
WELL, NOTHING I DO
IS GOOD ENOUGH.
488
00:24:02,336 --> 00:24:04,608
HE TREATS ME LIKE DIRT.
489
00:24:04,608 --> 00:24:07,411
I MEAN, JUST NOW
I WAS TRYING TO SHOW HIM
490
00:24:07,411 --> 00:24:11,815
THIS ONE IDEA
THAT I HAD...
491
00:24:11,815 --> 00:24:13,817
IT WOULD'VE TAKEN HIM
30 SECONDS,
492
00:24:13,817 --> 00:24:16,319
BUT HE BIT MY HEAD OFF.
493
00:24:18,352 --> 00:24:19,653
WHAT?
494
00:24:19,653 --> 00:24:22,055
BETTY...
495
00:24:22,055 --> 00:24:24,057
NANCY WAS
DOWN IN HUMAN RESOURCES,
496
00:24:24,057 --> 00:24:28,500
AND SOME PEOPLE THERE
WERE TALKING, AND, UH...
497
00:24:28,500 --> 00:24:29,632
WELL, APPARENTLY,
498
00:24:29,632 --> 00:24:31,763
BRADFORD WAS THE ONE
THAT WANTED TO HIRE YOU.
499
00:24:31,763 --> 00:24:34,606
BRADFORD MEADE?
500
00:24:34,606 --> 00:24:36,509
WAIT, HE KNOWS WHO I AM?
MM-HMM.
501
00:24:36,509 --> 00:24:40,412
HE MADE DANIEL HIRE YOU...
502
00:24:40,412 --> 00:24:42,413
'CAUSE HE DIDN'T
WANT HIS SON TO BE TEMPTED
503
00:24:42,413 --> 00:24:45,576
TO SLEEP WITH
HIS ASSISTANTS ANYMORE.
504
00:24:47,078 --> 00:24:48,549
OH.
505
00:24:48,549 --> 00:24:51,383
I'M SORRY, BETTY.
NO, THAT--
THAT EXPLAINS A LOT.
506
00:24:51,383 --> 00:24:53,625
BETTY--
NO, NO, REALLY, IT'S FINE.
507
00:24:53,625 --> 00:24:57,388
I SHOULD BE GRATEFUL
THAT I GOT MY BREAK.
508
00:24:57,388 --> 00:25:01,092
IT'S NOT SO EASY
FOR EVERYONE.
509
00:25:01,092 --> 00:25:05,395
THIS IS JUST HOW IT WAS
SUPPOSED TO HAPPEN FOR ME.
510
00:25:05,395 --> 00:25:08,368
WELL,
I SHOULD BE GOING, SO...
511
00:25:08,368 --> 00:25:09,700
THANK YOU.
512
00:25:22,853 --> 00:25:26,855
♪♪♪
513
00:25:26,855 --> 00:25:30,859
(woman speaking indistinctly)
514
00:25:30,859 --> 00:25:33,923
(woman) YOU'VE GOT
A GOOD OUTFIT HERE...
515
00:25:33,923 --> 00:25:36,925
(man) NOW LET'S HOLD IT.
(woman) YOU WANNA BLEND IT
A LITTLE BIT BETTER.
516
00:25:36,925 --> 00:25:39,468
(man) DOES THIS WORK?
(woman) THAT'S BETTER.
I LIKE IT.
517
00:25:39,468 --> 00:25:41,770
OH! SO, UH, I WAS
JUST ON MY LUNCH BREAK,
518
00:25:41,770 --> 00:25:43,771
AND I THOUGHT
I'D STOP BY. (giggles)
519
00:25:43,771 --> 00:25:45,473
THIS IS REALLY AMAZING.
520
00:25:45,473 --> 00:25:46,775
THANK YOU, AMANDA.
521
00:25:46,775 --> 00:25:48,836
AND IF YOU NEED ANYTHING...
522
00:25:48,836 --> 00:25:50,538
TRAFFIC OR HANGOVER?
523
00:25:50,538 --> 00:25:52,840
DID--DID ANYONE
READ THE CONTRACT TO HER?
524
00:25:52,840 --> 00:25:54,843
SHE NEEDS TO BE HERE
FOR THE TEST SHOTS!
525
00:25:54,843 --> 00:25:56,914
HEY, HEY, HEY,
WHAT'S GOING ON?
526
00:25:56,914 --> 00:25:58,046
(sighs) IZABELA,
THE BRAZILIAN MODEL...
527
00:25:58,046 --> 00:25:59,748
YEAH?
SHE'S LATE.
528
00:25:59,748 --> 00:26:01,750
THIS IS A CRAZY,
COMPLICATED SHOOT,
529
00:26:01,750 --> 00:26:04,051
AND I NEED HER DRESSED
AND READY... RIGHT NOW.
530
00:26:04,051 --> 00:26:06,653
PHILLIPPE, THEY'RE TEST SHOTS.
LET'S JUST USE THE STAND-IN.
531
00:26:06,653 --> 00:26:07,954
NO, NO,
SHE'S TOO SPECIFIC.
532
00:26:07,954 --> 00:26:09,957
I NEED SOMEONE WITH HER--
WITH HER SKIN TONE.
533
00:26:09,957 --> 00:26:12,500
SOMEONE LIKE...
534
00:26:12,500 --> 00:26:13,661
HER.
535
00:26:15,001 --> 00:26:16,002
FUNNY.
536
00:26:16,002 --> 00:26:19,435
I BET YOU SHE QUITS
BEFORE SHE DOES IT.
537
00:26:24,471 --> 00:26:26,712
(grunts) OH!
WHOOPS, EXCUSE ME.
538
00:26:26,712 --> 00:26:28,974
BETTY! OH, I AM SO GLAD
YOU'RE HERE.
539
00:26:28,974 --> 00:26:31,917
LISTEN, WE HAVE A CRISIS
AND WE REALLY NEED YOUR HELP.
540
00:26:31,917 --> 00:26:34,681
OKAY.
UH, ONE OF OUR MODELS
DIDN'T SHOW UP.
541
00:26:34,681 --> 00:26:36,853
WE REALLY NEED SOMEONE
TO STAND IN FOR HER
542
00:26:36,853 --> 00:26:39,555
IN WARDROBE.
543
00:26:39,555 --> 00:26:42,028
UM, SO...
544
00:26:42,028 --> 00:26:44,029
YOU WANT--YOU WANT ME
TO DO IT?
545
00:26:44,029 --> 00:26:46,531
MM-HMM.
546
00:26:46,531 --> 00:26:47,792
UM...
547
00:26:47,792 --> 00:26:50,665
WELL?
548
00:26:50,665 --> 00:26:51,666
WELL--
549
00:26:51,666 --> 00:26:53,898
THIS... IS WHAT
YOU WANT ME TO DO?
550
00:26:53,898 --> 00:26:55,641
YEAH!
551
00:27:09,753 --> 00:27:12,487
WELL, IT LOOKS LIKE
SHE FINALLY QUIT.
552
00:27:12,487 --> 00:27:13,817
GOOD.
553
00:27:13,817 --> 00:27:15,819
SMART ASS HAD NO BUSINESS
WORKING FOR YOU
554
00:27:15,819 --> 00:27:17,821
IN THE FIRST... PLACE.
555
00:27:17,821 --> 00:27:19,993
(Princess Superstar's
"I Like it a Lot" playing)
556
00:27:19,993 --> 00:27:21,194
(man) WHOA.
557
00:27:21,194 --> 00:27:24,027
♪ PLEASE ALLOW ME
TO INTRODUCE MYSELF ♪
558
00:27:24,027 --> 00:27:25,969
♪ MY NAME IS SUPERSTAR ♪
559
00:27:25,969 --> 00:27:28,131
♪ SHORT FOR NOTHING ♪
560
00:27:29,932 --> 00:27:31,934
WHERE DO YOU WANT ME?
561
00:27:34,076 --> 00:27:35,838
RIGHT...
562
00:27:35,838 --> 00:27:37,109
THERE IS FINE.
563
00:27:37,109 --> 00:27:38,810
I SEE A SHADOW.
564
00:27:38,810 --> 00:27:41,144
CAN YOU MOVE THAT LIGHT
OVER TO THE RIGHT? THANK YOU.
565
00:27:41,144 --> 00:27:43,685
MOVEMENT, LADIES. MOVEMENT.
566
00:27:43,685 --> 00:27:44,947
SEXY.
567
00:27:44,947 --> 00:27:47,890
MORE, MORE.
GIVE ME MORE.
568
00:27:47,890 --> 00:27:50,692
OKAY, YOU'RE DEVOURING
THE CAMERA WITH YOUR EYES.
569
00:27:50,692 --> 00:27:54,625
(women laughing)
570
00:27:57,128 --> 00:27:59,830
(Phillippe) GIVE ME
A LITTLE MORE COQUETTE, BETTY.
571
00:28:02,903 --> 00:28:05,636
STOP IT.
572
00:28:05,636 --> 00:28:07,307
STOP IT.
573
00:28:18,648 --> 00:28:20,121
BETTY, WAIT!
574
00:28:21,821 --> 00:28:23,753
THIS IS WHAT YOU WANTED,
ISN'T IT,
575
00:28:23,753 --> 00:28:26,286
TO HUMILIATE ME
AND MAKE ME QUIT?
576
00:28:26,286 --> 00:28:28,989
GOD FORBID YOU HAD
TO WORK WITH THE UGLY GIRL
577
00:28:28,989 --> 00:28:31,090
YOUR DAD
FORCED YOU TO HIRE.
578
00:28:31,090 --> 00:28:32,992
WELL, CONGRATULATIONS.
579
00:28:45,144 --> 00:28:48,346
(Cumbia music playing)
580
00:29:03,922 --> 00:29:05,123
CHAMOMILE?
581
00:29:05,123 --> 00:29:07,095
THANK YOU, JUSTIN.
582
00:29:07,095 --> 00:29:09,096
I'M SORRY
IT DIDN'T WORK OUT.
583
00:29:09,096 --> 00:29:10,327
IT HAPPENS.
584
00:29:10,327 --> 00:29:12,200
MOM SAID
SHE WASN'T SURPRISED.
585
00:29:12,200 --> 00:29:13,932
HILDA SAID THAT?
586
00:29:13,932 --> 00:29:16,673
SHE SAID ALL THE STUFF
YOU WANNA DO,
587
00:29:16,673 --> 00:29:18,306
OWNING A MAGAZINE,
588
00:29:18,306 --> 00:29:20,307
DOESN'T HAPPEN
FOR PEOPLE LIKE US
589
00:29:20,307 --> 00:29:22,309
UNLESS YOU'RE J. Lo
OR SOMETHING.
590
00:29:22,309 --> 00:29:25,613
SHE SAID SHE WISHES YOU'D BE
MORE REALISTIC, BUT...
591
00:29:25,613 --> 00:29:27,785
(scoffs) I THINK
SHE'S FULL OF CRAP.
592
00:29:30,017 --> 00:29:33,089
(Gina) MMM. (giggles)
593
00:29:33,089 --> 00:29:33,951
OH.
594
00:29:33,951 --> 00:29:36,093
(laughs) OW!
595
00:29:36,093 --> 00:29:38,023
HOLD THIS.
WHAT...
596
00:29:38,023 --> 00:29:39,826
WHAT ARE YOU DOING?
597
00:29:39,826 --> 00:29:40,997
(grunts)
598
00:29:50,105 --> 00:29:53,808
I JUST WANNA SAY
THAT THIS IS REALLY UNFAIR.
599
00:29:53,808 --> 00:29:56,971
I LIVE TWO DOORS DOWN!
I CAN SEE YOU!
600
00:29:56,971 --> 00:29:59,044
WHAT THE HELL YOU DOING?
601
00:29:59,044 --> 00:30:01,946
UM... WHERE'S WALTER?
602
00:30:01,946 --> 00:30:03,778
IT'S OVER.
603
00:30:03,778 --> 00:30:07,281
LOOK, WALTER--
HE'S SWEET AND EVERYTHING--
604
00:30:07,281 --> 00:30:09,284
BUT I TOLD HIM
FROM THE START
605
00:30:09,284 --> 00:30:11,286
I WASN'T LOOKING
FOR ANYTHING SERIOUS.
606
00:30:11,286 --> 00:30:12,988
AND HE SAID FINE,
607
00:30:12,988 --> 00:30:15,930
HE COULD STILL GET ME
30% OFF A FLAT SCREEN.
608
00:30:15,930 --> 00:30:18,031
YOU USED HIM
FOR HIS DISCOUNT?
609
00:30:18,031 --> 00:30:20,094
OH, HE OFFERED.
610
00:30:21,996 --> 00:30:23,768
(man) OH!
BITCH!
611
00:30:23,768 --> 00:30:26,170
YOU BROKE MY PLASMA!
612
00:30:26,170 --> 00:30:28,241
(woman squeals)
613
00:30:28,241 --> 00:30:31,976
(woman baby talking)
614
00:30:31,976 --> 00:30:35,108
WE SO THRILLED
TO HAVE YOU HERE, FABIA.
615
00:30:35,108 --> 00:30:37,381
(Fabia baby talking)
616
00:30:37,381 --> 00:30:38,981
NOW, AHEM,
617
00:30:38,981 --> 00:30:42,786
WHY DON'T WE LET THE PICTURES
SPEAK FOR THEMSELVES, HMM?
618
00:30:42,786 --> 00:30:46,358
(dance music playing)
619
00:31:02,734 --> 00:31:04,836
SMETTILA!
620
00:31:06,038 --> 00:31:08,809
THIS IS FREAKING JOKE,
RIGHT?
621
00:31:08,809 --> 00:31:11,442
UH, NO.
622
00:31:11,442 --> 00:31:12,743
YOU STUPIDO.
623
00:31:12,743 --> 00:31:15,747
ALL OF YOU, STUPIDO!
624
00:31:15,747 --> 00:31:17,188
(grunts)
625
00:31:17,188 --> 00:31:18,990
IDIOTS, IDIOTS!
626
00:31:18,990 --> 00:31:21,992
(muttering in Italian)
627
00:31:29,200 --> 00:31:31,301
WHAT--WHAT JUST HAPPENED?!
628
00:31:31,301 --> 00:31:33,133
WELL...
629
00:31:33,133 --> 00:31:35,865
FABIA'S PROBABLY
STILL A LITTLE SENSITIVE
630
00:31:35,865 --> 00:31:38,367
ABOUT THE ACCIDENT.
631
00:31:38,367 --> 00:31:40,740
ACCIDENT?
632
00:31:40,740 --> 00:31:42,972
OH, YOU DIDN'T KNOW.
633
00:31:42,972 --> 00:31:44,273
ABOUT A MONTH AGO,
634
00:31:44,273 --> 00:31:48,117
SHE BACKED HER S.U.V.
INTO 12 PEOPLE OUTSIDE MARQUEE.
635
00:31:48,117 --> 00:31:50,079
I WAS IN SAINT-TROPEZ.
636
00:31:50,079 --> 00:31:51,320
I HAD NO IDEA.
637
00:31:51,320 --> 00:31:54,123
WHY--WHY DIDN'T ANYONE
SAY ANYTHING?
638
00:31:54,123 --> 00:31:57,286
DANIEL, IF I MAY, YOU DIDN'T
INCLUDE ME IN THE CONCEPT.
639
00:31:57,286 --> 00:32:00,288
AND WE ALL THOUGHT
YOU KNEW WHAT YOU WERE DOING.
640
00:32:03,132 --> 00:32:06,535
FABIA'S NOT JUST
TALKING ABOUT CANCELING...
641
00:32:06,535 --> 00:32:08,237
THE "MODE" SUPPLEMENT.
642
00:32:08,237 --> 00:32:11,240
SHE'S CONSIDERING...
PULLING ADVERTISING
643
00:32:11,240 --> 00:32:14,172
FROM EVERY SINGLE ONE
OF MY MAGAZINES.
644
00:32:14,172 --> 00:32:17,174
IS IT TRUE YOU WORKED ON THIS
ON YOUR OWN,
645
00:32:17,174 --> 00:32:19,176
DIDN'T CONSULT WILHELMINA
OR ANYONE ELSE?
646
00:32:19,176 --> 00:32:20,377
LOOK, I CAN EXPLAIN.
647
00:32:20,377 --> 00:32:22,380
I HAD--I HAD
A VERY STRONG FEELING
648
00:32:22,380 --> 00:32:24,382
SHE WAS TRYING
TO SABOTAGE ME.
649
00:32:24,382 --> 00:32:28,256
THE ONLY PERSON
WHO SABOTAGED YOU WAS YOURSELF.
650
00:32:28,256 --> 00:32:31,388
SORRY I LET YOU DOWN.
WELL,
I'M SORRY I KEEP HOPING
651
00:32:31,388 --> 00:32:34,221
YOU'LL BE SOMETHING
YOU'RE CLEARLY NOT.
652
00:32:34,221 --> 00:32:36,262
(grunts)
MY LEG IS CRAMPING.
LOOK, I CAN FIX THIS.
653
00:32:36,262 --> 00:32:38,265
I'LL JUST PRESENT HER
WITH A WHOLE NEW IDEA.
654
00:32:38,265 --> 00:32:41,028
WE JUST CLOSED BOOK.
IT'S TOO LATE.
655
00:32:41,028 --> 00:32:43,799
TOMORROW MORNING. PLEASE.
656
00:32:43,799 --> 00:32:45,301
GIVE ME ANOTHER CHANCE.
657
00:32:45,301 --> 00:32:47,173
(Marc) Daniel called again
looking for you.
658
00:32:47,173 --> 00:32:48,535
(sighs)
659
00:32:48,535 --> 00:32:52,238
WHAT PART OF "UNAVAILABLE"
DOES HE NOT UNDERSTAND?
660
00:32:52,238 --> 00:32:54,240
I'll let him know.
661
00:32:56,813 --> 00:32:59,285
HE REALLY SHOULD'VE
COME TO ME EARLIER.
662
00:32:59,285 --> 00:33:02,117
(chuckles) IT WOULDN'T HAVE
MADE ANY DIFFERENCE NOW,
663
00:33:02,117 --> 00:33:03,419
WOULD IT?
664
00:33:03,419 --> 00:33:06,352
NOT REALLY. (laughs)
665
00:33:06,352 --> 00:33:07,853
TO TEAMWORK.
666
00:33:07,853 --> 00:33:09,255
TO REVENGE.
667
00:33:09,255 --> 00:33:10,395
AH.
668
00:33:53,636 --> 00:33:55,337
(speaking Spanish)
669
00:33:55,337 --> 00:33:58,471
(speaking Spanish)
670
00:34:02,974 --> 00:34:05,047
(Betty)
HE HAS A HEART CONDITION.
671
00:34:05,047 --> 00:34:07,480
YES,
HE--HE NEEDS HIS MEDICATION.
672
00:34:07,480 --> 00:34:09,481
BUT YOU CAN'T JUST
COVER THE PILLS
673
00:34:09,481 --> 00:34:13,284
AND THEN
RANDOMLY DECIDE TO STOP.
674
00:34:13,284 --> 00:34:15,286
BUT IT'S--IT'S
A REAL PERSON'S HEALTH,
675
00:34:15,286 --> 00:34:16,918
IT'S NOT A CASE NUMBER.
676
00:34:16,918 --> 00:34:20,161
GIVE ME THE PHONE.
I'LL LET 'EM HAVE IT.
677
00:34:20,161 --> 00:34:22,164
NO. NO, I DON'T WANNA
HOLD AGAIN.
678
00:34:22,164 --> 00:34:24,025
NOT AGAIN.
679
00:34:24,025 --> 00:34:26,367
NO, JUST WAIT--
680
00:34:26,367 --> 00:34:27,668
(sighs)
681
00:34:30,931 --> 00:34:33,304
IT'S FINE. WE'LL JUST--
WE'LL GET 'EM TOMORROW.
682
00:34:33,304 --> 00:34:34,304
IT'S FINE.
683
00:34:34,304 --> 00:34:35,606
THANK YOU, MI AMOR.
684
00:34:35,606 --> 00:34:37,608
YOU'RE SO MUCH BETTER
AT DEALING WITH
685
00:34:37,608 --> 00:34:40,610
THIS BUREAUCRATIC STUFF
THAN I AM.
NO, YOU KNOW I DON'T MIND.
686
00:34:40,610 --> 00:34:41,981
I KNOW.
687
00:34:41,981 --> 00:34:43,983
YOU'RE ALWAYS SO GOOD
TO ME.
688
00:34:43,983 --> 00:34:47,347
SO STRONG, DETERMINED,
OPTIMISTIC...
689
00:34:47,347 --> 00:34:49,349
(chuckles)
690
00:34:49,349 --> 00:34:51,391
JUST LIKE YOUR MOTHER WAS.
691
00:34:53,253 --> 00:34:56,025
(knock on door)
692
00:34:59,028 --> 00:35:02,262
WHY HAVEN'T YOU
RETURNED MY CALLS?
I'VE BEEN BUSY.
693
00:35:02,262 --> 00:35:05,264
BETTY, I NEED TO TALK TO YOU.
I MADE A TERRIBLE MISTAKE.
694
00:35:05,264 --> 00:35:08,367
WAIT, DID YOU REALIZE THIS
BEFORE OR AFTER GINA DUMPED YOU?
695
00:35:08,367 --> 00:35:11,440
WHAT? NO, NO,
I BROKE UP WITH HER.
696
00:35:11,440 --> 00:35:14,713
BETTY, IT WAS WRONG,
AND I WANNA MAKE THIS UP TO YOU.
697
00:35:14,713 --> 00:35:16,445
I--
(knock on door)
698
00:35:16,445 --> 00:35:18,547
BETTY.
699
00:35:18,547 --> 00:35:21,550
ARE YOU DATING SOMEONE?
WALTER, PLEASE GO!
700
00:35:21,550 --> 00:35:23,382
DATING THIS GUY?
701
00:35:23,382 --> 00:35:25,384
LOOK, YOU NEED TO GO.
PLEASE. YOU NEED TO GO.
702
00:35:25,384 --> 00:35:27,255
BUT, BETTY, I-I...
703
00:35:28,425 --> 00:35:31,059
WHAT ARE YOU DOING HERE?
704
00:35:31,059 --> 00:35:32,360
I WANNA TALK.
705
00:35:35,432 --> 00:35:38,195
IT'S A NICE PLACE.
706
00:35:38,195 --> 00:35:41,969
YEAH, WE'RE JUST IN BETWEEN
INTERIOR DESIGNERS.
707
00:35:41,969 --> 00:35:42,969
REALLY?
708
00:35:42,969 --> 00:35:43,971
NO.
709
00:35:43,971 --> 00:35:46,143
OH, RIGHT. IT'S A JOKE.
710
00:35:48,344 --> 00:35:51,307
BETTY, I AM SO SORRY.
711
00:35:51,307 --> 00:35:54,981
YOU DIDN'T DESERVE
WHAT I PUT YOU THROUGH.
712
00:35:54,981 --> 00:35:58,355
I-I LISTENED TO ALL THE WRONG
PEOPLE ABOUT A LOT OF THINGS,
713
00:35:58,355 --> 00:36:02,989
AND... I HAVE NO ONE
TO BLAME BUT MYSELF.
714
00:36:04,721 --> 00:36:08,023
WELL, I APPRECIATE THAT,
DANIEL.
715
00:36:08,023 --> 00:36:09,465
BUT YOU'RE
GOING TO LEAVE HERE,
716
00:36:09,465 --> 00:36:11,626
AND YOU'RE GOING
TO TAKE YOUR TOWN CAR
717
00:36:11,626 --> 00:36:13,199
BACK TO YOUR SOHO LOFT,
718
00:36:13,199 --> 00:36:14,730
AND I'M STILL
GONNA BE HERE--
719
00:36:14,730 --> 00:36:16,431
OUT OF WORK
720
00:36:16,431 --> 00:36:19,175
AND DEALING WITH PROBLEMS
THAT YOU'LL NEVER UNDERSTAND.
721
00:36:19,175 --> 00:36:20,476
TRY ME.
722
00:36:20,476 --> 00:36:22,478
BETTY, COME ON,
WE'VE ALL GOT PROBLEMS.
723
00:36:22,478 --> 00:36:24,510
OH, AND WHAT
ARE YOURS, DANIEL,
724
00:36:24,510 --> 00:36:26,510
WHAT RESTAURANT
YOU'RE GONNA EAT AT,
725
00:36:26,510 --> 00:36:29,543
WHICH MODEL
YOU'RE GONNA SLEEP WITH?
726
00:36:29,543 --> 00:36:31,246
TRY SPENDING THE DAY
727
00:36:31,246 --> 00:36:33,248
ON THE PHONE
WITH SOME CRAPPY H.M.O.,
728
00:36:33,248 --> 00:36:35,250
GETTING THEM TO COVER
YOUR DAD'S PRESCRIPTIONS.
729
00:36:35,250 --> 00:36:38,152
OR TRY LINING UP
A JOB--ANY JOB--
730
00:36:38,152 --> 00:36:41,356
'CAUSE YOU HAVE TO HELP
PAY THE RENT NEXT MONTH.
731
00:36:41,356 --> 00:36:42,657
LOOK...
732
00:36:42,657 --> 00:36:45,599
I LOST A BROTHER
A WHILE BACK.
733
00:36:45,599 --> 00:36:47,601
HE WAS THE GOOD ONE
IN OUR FAMILY,
734
00:36:47,601 --> 00:36:50,264
AND I'VE NEVER QUITE
MEASURED UP.
735
00:36:50,264 --> 00:36:52,206
BUT I AM TRYING.
736
00:36:52,206 --> 00:36:54,407
BETTY, I--
737
00:36:54,407 --> 00:36:57,110
I COULD NEVER COMPARE
MY PROBLEMS TO YOURS,
738
00:36:57,110 --> 00:36:59,273
BUT THEY'RE MINE.
739
00:36:59,273 --> 00:37:01,545
NOTHING'S EVER EASY.
740
00:37:05,719 --> 00:37:09,282
I SAW THE LAYOUT YOU MADE
FOR FABIA.
741
00:37:09,282 --> 00:37:11,423
YOU DID?
742
00:37:11,423 --> 00:37:15,358
I THOUGHT IT WAS VERY SMART
AND BEAUTIFUL.
743
00:37:15,358 --> 00:37:18,291
WELL, THANK YOU.
744
00:37:18,291 --> 00:37:20,492
I WANT TO TAKE YOUR IDEAS
TO FABIA,
745
00:37:20,492 --> 00:37:23,565
GIVING YOU CREDIT, OF COURSE.
746
00:37:23,565 --> 00:37:26,137
AND I REALLY WANT YOU
TO COME BACK,
747
00:37:26,137 --> 00:37:27,438
BE MY ASSISTANT.
748
00:37:27,438 --> 00:37:30,472
I PROMISE YOU
THINGS WILL BE DIFFERENT.
749
00:37:30,472 --> 00:37:33,574
I--DANIEL, I--
750
00:37:33,574 --> 00:37:36,407
I MEAN, I-I REALLY
HAVE TO THINK ABOUT THAT.
751
00:37:36,407 --> 00:37:39,179
OH.
752
00:37:39,179 --> 00:37:42,182
WELL... YOU HAVE TONIGHT,
753
00:37:42,182 --> 00:37:46,157
OTHERWISE, I'LL PROBABLY
BE OUT OF A JOB AS WELL.
754
00:37:52,523 --> 00:37:54,494
(clears throat)
755
00:38:04,574 --> 00:38:07,137
DID YOU HEAR THAT?
756
00:38:07,137 --> 00:38:09,278
MM-HMM.
757
00:38:09,278 --> 00:38:11,440
EVERY WORD.
758
00:38:24,152 --> 00:38:26,324
SO...
759
00:38:26,324 --> 00:38:27,626
WHERE THE HELL IS HE?
760
00:38:27,626 --> 00:38:30,559
HE SAID 10:00 A.M.
761
00:38:30,559 --> 00:38:32,661
WELL, FABIA...
762
00:38:32,661 --> 00:38:36,434
ON BEHALF
OF THE ENTIRE MAGAZINE,
763
00:38:36,434 --> 00:38:38,606
CI PERDONI.
764
00:38:38,606 --> 00:38:41,469
THIS WHOLE THING
HAS BEEN UNACCEPTABLE.
765
00:38:41,469 --> 00:38:42,811
MARC.
766
00:38:42,811 --> 00:38:45,512
NOW THAT I HAVE
A MOMENT OF YOUR TIME,
767
00:38:45,512 --> 00:38:47,744
I'D LIKE TO SHOW YOU
SOME OF MY IDEAS.
768
00:38:47,744 --> 00:38:49,447
(Daniel) SORRY WE'RE LATE.
769
00:38:51,478 --> 00:38:54,481
(Daniel) THERE WAS OBVIOUSLY
NO TIME FOR A NEW PHOTO SHOOT,
770
00:38:54,481 --> 00:38:56,583
SO, UH, WHAT WE'RE
GONNA BE SHOWING YOU
771
00:38:56,583 --> 00:38:58,355
IS JUST A ROUGH IDEA.
772
00:38:58,355 --> 00:38:59,425
OH!
773
00:38:59,425 --> 00:39:00,728
UH, WAIT.
774
00:39:00,728 --> 00:39:04,561
NO, THIS IS--
THIS IS NOT THE RIGHT FILE.
775
00:39:04,561 --> 00:39:06,632
UM, JUST ONE SEC--
ONE SECOND.
776
00:39:06,632 --> 00:39:08,894
THIS IS IT.
777
00:39:08,894 --> 00:39:12,168
UM... AHEM... IN ORDER
TO SHOW THE SOFTER SIDE
778
00:39:12,168 --> 00:39:14,371
OF FABIA COSMETICS,
779
00:39:14,371 --> 00:39:18,173
WE'RE GOING TO USE THE CONCEPT
OF MOTHERS AND DAUGHTERS,
780
00:39:18,173 --> 00:39:22,208
FOCUSING ON THE SMALL,
SPECIAL MOMENTS THAT--
781
00:39:22,208 --> 00:39:23,548
THAT ARE USUALLY TAKEN
FOR GRANTED,
782
00:39:23,548 --> 00:39:27,282
THE THEME BEING,
"IT'S NOT THE BIG EVENTS...
783
00:39:27,282 --> 00:39:29,885
BUT THE LITTLE MOMENTS"
THAT MATTER.
784
00:39:29,885 --> 00:39:35,260
I JUST HAD A DAUGHTER.
I DO NONE OF THOSE THINGS...
785
00:39:35,260 --> 00:39:36,661
BUT I CAN UNDERSTAND.
786
00:39:36,661 --> 00:39:38,592
(sniffs)
787
00:39:38,592 --> 00:39:41,766
WHAT MAKES YOU THINK THIS IS
GOING TO APPEAL TO MY CUSTOMERS?
788
00:39:41,766 --> 00:39:43,697
(whines)
789
00:39:47,402 --> 00:39:49,403
UM... WELL, IF--
IF I MAY,
790
00:39:49,403 --> 00:39:51,436
I DO HAVE
THE STATISTICS HERE.
791
00:39:51,436 --> 00:39:52,706
UM, THOUGH ONE MIGHT ASSUME
792
00:39:52,706 --> 00:39:54,708
THAT YOUR DEMOGRAPHIC
IS VERY YOUNG,
793
00:39:54,708 --> 00:39:56,710
IN FACT, THERE'S BEEN
TREMENDOUS BRAND LOYALTY
794
00:39:56,710 --> 00:39:58,581
SINCE YOU'VE LAUNCHED,
795
00:39:58,581 --> 00:40:00,945
WHICH MEANS THAT THE PEOPLE
WHO WERE TEENAGERS
796
00:40:00,945 --> 00:40:02,947
WHEN THEY BEGAN USING
YOUR COSMETICS,
797
00:40:02,947 --> 00:40:05,489
WELL, NOW, LIKE YOU,
THEY ARE...
798
00:40:05,489 --> 00:40:07,751
BEGINNING TO SETTLE DOWN
AND HAVE CHILDREN--
799
00:40:07,751 --> 00:40:10,824
UM, 58% TO BE EXACT.
800
00:40:12,496 --> 00:40:14,496
AND YOU COULD DO THIS
IN TIME?
801
00:40:14,496 --> 00:40:15,798
(Daniel) OF COURSE.
802
00:40:15,798 --> 00:40:18,762
UH, DID YOU WANT TO
APPROVE THE, UH, UH, MODELS
803
00:40:18,762 --> 00:40:20,702
AND IMAGES BEFOREHAND?
804
00:40:20,702 --> 00:40:23,306
NAH. JUST MAKE SURE
IT'S NOT TOO SAPPY.
805
00:40:23,306 --> 00:40:25,668
DO A PICTURE WHERE THEY'RE
PULLING THEIR HAIR
806
00:40:25,668 --> 00:40:27,510
OR BITING EACH OTHER.
807
00:40:27,510 --> 00:40:29,572
SO THAT'S NICE.
808
00:40:29,572 --> 00:40:31,773
NOW I GO.
809
00:40:37,449 --> 00:40:38,750
GOOD WORK.
810
00:40:38,750 --> 00:40:41,322
OH, THE IDEA
WAS ACTUALLY--
811
00:40:41,322 --> 00:40:43,925
HIS BEST ONE,
DON'T YOU THINK?
812
00:40:46,458 --> 00:40:47,628
INDEED.
813
00:40:47,628 --> 00:40:49,831
WELCOME BACK, BOSS.
814
00:40:49,831 --> 00:40:51,893
MARC.
815
00:41:04,905 --> 00:41:08,378
(woman)
I'M VERY UNHAPPY.
816
00:41:08,378 --> 00:41:09,949
IT'S A SETBACK.
817
00:41:09,949 --> 00:41:12,052
BUT IT'S JUST
A MATTER OF TIME.
818
00:41:12,052 --> 00:41:14,313
ONCE HE'S OUT OF THE PICTURE,
819
00:41:14,313 --> 00:41:16,615
THE COMPANY WILL BE OURS
FOR THE TAKING.
820
00:41:16,615 --> 00:41:19,619
CONSIDERING THE WAY
EVERYTHING'S PLAYED OUT,
821
00:41:19,619 --> 00:41:21,920
IT SEEMS TO ME
THAT YOU SHOULD KEEP AN EYE
822
00:41:21,920 --> 00:41:24,793
ON THAT DAMN UGLY ASSISTANT.
823
00:41:24,793 --> 00:41:27,427
WHAT'S HER NAME?
824
00:41:27,427 --> 00:41:29,898
BETTY.
BETTY.
825
00:41:29,898 --> 00:41:31,400
BETTY.
826
00:41:31,400 --> 00:41:32,731
BETTY.
827
00:41:32,731 --> 00:41:34,733
BETTY! BETTY.
828
00:41:34,733 --> 00:41:37,675
OH, CHRISTINA,
THANK YOU AGAIN, SO MUCH.
829
00:41:37,675 --> 00:41:38,978
SHH. NO, NO, NO. GO.
830
00:41:38,978 --> 00:41:41,079
GO.
831
00:41:44,512 --> 00:41:47,516
YOU SHOULD'VE LET ME TELL HIM
IT WAS YOUR IDEA.
832
00:41:47,516 --> 00:41:50,047
DON'T WORRY.
I WILL THE NEXT TIME.
833
00:41:50,047 --> 00:41:51,750
(laughs) THANKS.
834
00:41:51,750 --> 00:41:53,451
YOU'RE WELCOME.
835
00:41:53,451 --> 00:41:55,452
SO I'VE CONFIRMED YOUR LUNCH
FOR TOMORROW
836
00:41:55,452 --> 00:41:57,695
AND YOUR 3:15 WITH
THE GRAPHICS DEPARTMENT IS SET.
837
00:41:57,695 --> 00:41:59,697
THE FEATURE EDITOR
WOULD LIKE--
BETTY...
838
00:41:59,697 --> 00:42:02,730
TOMORROW MORNING.
IT'S OKAY.
839
00:42:04,362 --> 00:42:05,733
(clears throat) GOOD NIGHT.
840
00:42:05,733 --> 00:42:10,507
(K.T. Tunstall's
"Suddenly I See" playing)
841
00:42:10,507 --> 00:42:12,509
♪ WELL, HER FACE
IS A MAP OF THE WORLD ♪
842
00:42:12,509 --> 00:42:15,411
♪ IS A MAP OF THE WORLD ♪
843
00:42:15,411 --> 00:42:17,043
♪ YOU CAN SEE
SHE'S A BEAUTIFUL GIRL ♪
844
00:42:17,043 --> 00:42:19,045
♪ SHE'S A BEAUTIFUL GIRL ♪
845
00:42:19,045 --> 00:42:20,916
♪ SUDDENLY I SEE ♪
846
00:42:20,916 --> 00:42:22,449
♪ SUDDENLY I SEE ♪
847
00:42:22,449 --> 00:42:24,420
♪ THIS IS WHAT I WANNA BE ♪
848
00:42:24,420 --> 00:42:25,722
♪ SUDDENLY I SEE ♪
849
00:42:25,722 --> 00:42:27,422
♪ SUDDENLY I SEE ♪
850
00:42:27,422 --> 00:42:29,425
♪ WHY THE HELL
IT MEANS SO MUCH TO ME ♪
851
00:42:29,425 --> 00:42:31,686
♪ SUDDENLY I SEE ♪
852
00:42:31,686 --> 00:42:33,929
♪ THIS IS WHAT I WANNA BE ♪
853
00:42:33,929 --> 00:42:35,630
♪ SUDDENLY I SEE ♪
854
00:42:35,630 --> 00:42:36,931
♪ SUDDENLY I SEE ♪
855
00:42:36,931 --> 00:42:41,737
♪ WHY THE HELL
IT MEANS SO MUCH TO ME ♪
55085
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